krazy katz tattoo
Transcription
krazy katz tattoo
Andrew Jones, Of Her, 2006, digital androidjones.com CoSM Journal V contents: 1-6 Chartres Cathedral: Jim Garrison & Zachariah Gregory 7-12 Human Anatomical Dissection: A,A & Z Grey 13-16 Electric Sheep: Spot Dravesv 17-18 Illuminated landscapes: Peter Terezakis 19-26 Egyptian Mysteries: Nicki Scully & Starwolf 27-32 Burning Man: Daniel Pinchbeck & A. Leo Nash 34-38 Bartering with the Gods: Alex Stark 39-41 Letter to a Student: Jason Louv 42-44 Damanhur Esperide Ananas 45-49 Ritual theater: Eve Bradford 5o-54 The Prayformace of S.K.Thoth 55 Personal Ritual Denny Daikeler 56 The art of L. Caruana 57-58 Blair Blake 59-62 Confessions of a Live Painter: Andrew Jones 63-64 Crystal and Spore 66 -68 Eggs on End: Donna Henes 69-72 The Thoth Tarot: Aleister Crowley & Lady Freida Harris 73 - 74 Of Thee I Sing: Brett Bevel 75-76 Sukaya: Wear your prayers 77-80 CoSM Fire 81-85 Liminal Village 2006: Naasko Wripple 86-90 Set and Setting: Kevin Sachs 91-94 Intergalactic Accelerators: Bryan DeFlores 95-98 The art of Ann McCoy Ritual & Mystery Schools Published by Cosm Press Chief Editors: Alex Grey, Allyson Grey Creative Directors, Graphic Design, Production Marisa Scirocco, Eli Morgan Advertising: Marisa Scirocco, Eli Morgan Contributing Artists: Alex Grey Allyson Grey Derick Ion Eli Morgan Gizem Bacaz Jeffery Howel Kris Waldherr Kyle Hailey Marisa Scirocco A.Leo Nash Orata Sijay James Susana Bates William Radacinski Zachariah Gregory Zena Grey Contributing Writers: Alex Grey Allyson Grey Alex Stark Andrew Jones Ann McCoy Bryan Deflores Brett Bevel Daniel Pinchbeck Denny Daikeler Eli Morgan Esperide Ananas Eve Bradford Jason Louv Jim Garrison Julie Van Amerongen Kevin Sachs Linda Star Wolf Nicki Scully Peter Terezakis S.K. Thoth Spot Draves St. Even Zachariah Gregory Zena Grey CoSM Press 542 W. 27t h Street, Fourth Floor New York, NY 10001 Contributing Editor: Bethany Morgan Web Master: Peter Terezakis Mac Technical Director Joe Saponare Cover: Chartres Cathedral, photo by Jeff Saward Back Cover: Burnt Offering, performance by Alex Grey 1983 This Page: Living Cross, performance by Alex and Allyson Grey, 1983 Website: www.cosm.org Email: [email protected] CoSM Journal, published by the Chapel of Sacred Mirrors, provides a forum for the emergence of Visionary Culture. CoSM Journal shares with it’s readers the work and stories of artists, thinkers, and community builders who are dedicated to transformative living, and committed to the integration of wisdom and the arts. CoSM Journal is offered to inform, connect, and inspire this evolving global awareness. The Chapel of Sacred Mirrors (CoSM), located at 542 W. 27th St., 4th floor, is a sanctuary in New York City for contemplation and a center for events encouraging the creative spirit. The Sacred Mirrors, on display in the Chapel, are a series of paintings that allow us to see ourselves and each other as reflections of the divine. CoSM provides a public exhibition of the Sacred Mirrors and the most outstanding works of mystical art by Alex Grey. The Chapel of Sacred Mirrors is a 501(c)(3) organization, supported solely by charitable donations from the community. If you would like to make a contribution to the Chapel of Sacred Mirrors, please send checks to COSM, London Terrace, PO box 20668, New York, NY 10011 or make donations on-line at www.cosm.org. All known societies perform rituals. Ceremonial acts, whether prescribed by tradition or decreed by a religion, are behaviors or actions that have symbolic value. Rituals are performed by individuals alone or by a community. Some rituals comply with religious obligations and satisfy the emotional needs of practitioners. Rituals can strengthen the bonds of the community, demonstrate respect or submission, and are often performed to obtain acceptance. Schools, clubs, political groups and the justice system are all chock full of rituals. Even shaking hands or greeting a person with “hello” are rituals so common that they could be overlooked as belonging to that category. A mystery school has been defined as “a university of the soul.” To those that pursue mastery, a curriculum that includes rituals, practices, exercises and initiations, can reveal mysteries of the inner nature of humanity and its surroundings. Understanding this inner nature leads to an intimate relationship with divinity. Through self-discipline and devotion, the mystery school student merges with an inner God. An esoteric school can empower the seeker to recognize their inherent wisdom and self-guidance system. For those aspiring for greater clarity and personal awareness in their life, a mystery school can be a highly spiritual training. The Islamic ritual of prayer five times daily came from a transmission to Mohammed from Allah. The Koran teaches that Allah originally instructed Mohammed to have the people pray fifty times each day, but an apparition of Moses conversed with Mohammed and convinced him to appeal to the Almighty claiming that people would never be willing to pray so often daily. After extensive negotiations, Allah approved five daily prayer rituals. Jews wear boxes on their foreheads and wrists when they pray. Catholics confess to an anonymous person behind a screen and repeat ritual prayers to cleanse their wrongdoings. The Buddhists Vajrayana tradition advises the practitioner to regard daily cleaning activities, actions that could be performed unconsciously or obligatorily, such as doing the dishes, to be given symbolic density as ritual purification of a mandala of the deities. We ourselves have engaged in rituals both traditional and self-made. We’ve walked on hot coals, gone on pilgrimages, attended retreats and religious ceremonies, and participated in many cultural traditions both spiritual and secular. Socially prescribed behavior resulted in a lovely wedding thirty years ago where Alex broke a glass under foot as was the custom of Allyson’s Jewish ancestors through time immemorial. Mazel tov. By practicing the ancient tradition of walking the labyrinth at Chartres Cathedral, we connected to beings nearly a thousand years ago who had followed the exact same path. We participated in traditions designed by the Damanhurians, who refer to ritual as a technology for uniting humanity with spiritual forces, and whose ceremonies in recent decades have served as portals to inner realms. Numerous performances of our own creation, such as circling a prayer wheel, prostrating before the Goddess, lying motionless in a bed of roses and apples, etc., have served as rites in our self-styled mystery school. Contemporary spiritual leaders have brought ancient mysteries into contemporary focus. The Masonic and Hermetic traditions including the Order of the Golden Dawn and the Rosicrucians, and modern day consciousness researchers and leaders such as Jean Houston, and Jim Garrison of Wisdom University have all resurrected the ancient modality of Mystery Schools as a context for the path to enlightenment. The function of a mystery school is anamnesis, a term coined by Socrates meaning the remembering of our timeless divine nature which we have forgotten. Socrates, who participated in the Eleusinian Mystery School, a cult known to have used a psychedelic inebriant, called the Kykeon, taught that the soul is immortal, being repeatedly incarnated, and that knowledge actually dwells in the soul from eternity, but is forgotten in the shock of birth. Seen through the proper lens, any activity, either mundane or glorified, could be performed passionately as a ritual enacted for the recall or realization of our already awakened God-self. Love, Alex and Allyson New Chartres School by Jim Garrison Wisdom University is pleased to announce the establishment of the New Chartres School, building upon and reinterpreting the mystery school that flourished in Chartres, France a thousand years ago and out of which the great Chartres Cathedral, called the “Mother Cathedral,” was built. The School is intended as a gathering point for the larger wisdom community and as a symbolic way of both expressing the essence of what the university represents and the future direction to which the university is committed.Chartres has been a focal point for the mysteries of healing and birth as well as a center where the divine feminine has been reverenced since the Druids first consecrated the site over 3,000 years ago. By the time of Fulbertus and his School two thousand years later, Chartres was a recognized locus of powerful healing, artistic and creative energies, and the adoration of the feminine. The Cathedral that was erected by the School stands unsurpassed in its beauty and grace. It is the Taj Mahal of the West, dedicated as the Taj Mahal was, to adoration of the feminine. The great mythologist Joseph Campbell called Chartres the “womb of the world.” We are convening the New Chartres School and inviting the larger wisdom community to participate because we believe there is a need for people of good will to come together and engage in an initiation process drawing for its inspiration on a wisdom school that was established in times very similar to our own and which can therefore inform us in addressing our challenges today. As Bernard of Chartres said, “We are dwarfs carried on the shoulders of giants.” It is humbling to know, for instance, that what we consider our modern notion of “Liberal Arts” was a term actually used by the founders of the Chartres School a thousand years ago. In a time of crisis in education the world over, it is salutary to look back and revisit the original meanings and intentions of such a term. We also discuss “world citizenship” as if that is something that pertains only to our modern world. Yet the founders of the Chartres School saw world citizenship as the goal of their Liberal Arts curriculum. For them, true education was based on understanding the mysteries of personal and social transformation, expressed through the subtleties of alchemy, music and sacred art. Because one of the principle aims of that original School was to cultivate world citizenship, our New Chartres School will place a special emphasis on the wisdom aspect of a specific tradition, beginning with Sufism (2006), Kabalism (2007), Christian medieval mysticism (2008), Vedic mysticism (2009), Shamanism (2010), Tibetan Buddhist mysticism (2011) and integral mysticism (2012). The Chartres School was dedicated to birthing the divine human through adoration of the divine feminine. This belief was memorialized in stone and glassp.2 in the sweeping Gothic architecture of the Cathedral, which they viewed as a form of sacred writing. No one has ever been buried in the Cathedral. It is completely dedicated to the theme of birthing and renewal. Over 400 images of the feminine grace its walls and stained glass windows, almost all in some act of birthing. The Seven Liberal Arts developed by Fulbertus and the original Chartres School were comprised of a theme of basic instruction, a guiding planet, and a historical personage who represented that particular stage of learning. What Wisdom University has developed is seven intensives which are based on the seven liberal arts but which are adapted to the challenges of the twenty first century. What will be different are the themes, the participants, the books, the sites. What remains the same is the commitment to learning through an initiatory engagement with the mysteries of transformation. We envision a similar seven stage initiatory process reworked as Seven Intensives. They will be based on the Seven Liberal Arts but reinterpreted in our modern context. Each Intensive will consist of seven days of instruction and learning. Our New School was inaugurated in Chartres July 2-7, 2006 with a panoply of teachers, including Alex and Allyson Grey who teach through Wisdom University and are part of the core faculty in Chartres. An historian, author and foreign policy organizer, Jim Garrison received a Master Degree in world religions from Harvard Divinity School, and a PhD in Philosophical Theology from Cambridge University. Garrison became President of Wisdom University in 2005 after serving as President of the State of the World Forum which he founded in partnership with President Mikhail Gorbachev and Senator Alan Cranston. Organizations founded and directed by Garrison include the Radiation and Health Information Service, the Christic Institute, Esalen Institute’s Soviet-American Exchange Program, the International Foreign Policy Institute, and the Gorbachev Foundation/USA. www.wisdomuniversity.org p.3 p.4 Chartres Cathedral Drawings and poetry by Zachariah Gregory Spiritual experience of a lifetime. Surrounded by Spirits, tall and swift, Brought instantaneous, uncontrollable weeping, A subtle and causal energy baptism, A bath of love and ecstasy. Voices whispered, “You are here. You created this.” A woman, clear and direct, asked, “Are you ready to walk the labyrinth?” Fearing the power of transformation. Certain that it meant nothing, My first foot set on the pattern of stone. A choir of thirty angels erupted through. Stripped of pain and blockage. Sacraments would become my nourishment, Energy directed toward art And the Glory of the Great God. Supreme grace, recognizing my history with the Cathedral, Offered dispensation, absolution, exceptions, Permission from the Divine Feminine, To view, draw, photograph, and experience with respect. All evening sketching buttresses. Climbing high on the scaffold, Eye level with the center of the moon tower, As far back as the cross of the cross, High enough to watch the Sun God set As he has for 1000 years plus. Breaking bread, Saying prayers for health, continuing prosperity and vision For loved ones and The Chapel of Sacred Mirrors. The Cathedral crawled with tessellating spotted vesicas, Fusing me with psychedelic colored sculpture In meditation and shamanic practice, Releasing mysterious sounds. The Heavens shimmered And the moon flew through the sky, Opening to the Truth of God. Zachariah Gregory is a New York based artist born in California. A painter and premier tattoo artist, Zachariah is an artist assistant to Alex Grey and staff member of the Chapel of Sacred Mirrors. PerceptionRising.com p.5 p.6 Dissecting table as Meditation cushion. The act of disassembling a human body can have psychic repercussions that benefit from a spiritual perspective. While carving away a human skin pelt and many pounds of connective and fatty tissue, I would think that I am cutting away my attachment to my body, or I am performing an outer Chod practice in a modern charnal ground –getting your mind to leave your body and cutting away the skull cap, hacking up and brewing one’s own body parts to serve the Buddha, the deities, demons and dakinis. No. I’m an artist obsessed with anatomy. Allyson and I joined Zena, our daughter, on her return visit to Gil Hedley’s “Human Anatomical Dissection” class, a 6-day course that takes the participant through the psychic layers of dissociation around Death and to the Core of Wonders that is human anatomy. We cut, meditated, and drew. p.7 When we see any other being we “model” them, we “mirror” them and see how we relate to them – how I relate to you. There are not many people that you skin with a scalpel. There are not many people from whose body cavities you scoop the intestinal bouquet into the air. It is a rarified privilege, a holy unfolding, unpacking and undoing, an unraveling of the biggest mystery school and most amazing architecture I’ve ever visited. The human body of the donor, I don’t know his name, but I drew his body in many stages of undoing and my identity unraveled in the process. The skin peeled off the scalpel like the rind of an orange. The white of the orange is the superficial fascia that blankets the form entirely. The superficial fascia is oogly, runny, smelly, slimy, globular, yellow, red, green, would make excellent fuel. The eyeball did not “pop” out by any means. It had to be carved out. Inside the eyeball is a small white disc and gray, sticky goo. Teasing out the muscles of the hand and around every finger laid bare strong, white fibers clinging tightly to the bone. Deep psychotherapy and inter-reflection. Like walking a labyrinth, oneself is revealed to oneself. Every dissectionist is a leader, a negotiator, a strategist. Interpersonal skills are challenged. Practicing non-attachment, revealing ego, judgement, and self revelation. A family retreat shared with twenty-two other somanauts, journeying through an intense six-day mystery school. Our community for the duration experienced this teaching together and were deepened. Tenderest of all is the memory of this sacred week spent with Alex and Zena. How lucky to have two such powerful people to share pilgrimage. - Allyson Grey - Alex Grey p.9 p.10 Maybe the reason I’m so reticent to document verbally any part of my experience is because I feel that an interaction with something so divinely honest is beyond words, or mine at least. Through six days, I was constantly being pulled between a feeling of innate smallness by being but a minuscule part of such a complex unfathomable force, and this other sense of almost godliness to be able to entirely excavate and unravel an object in it’s most honest state. But overall the sense of diminutiveness overrides because you see how little one can actually ever know about another human being without physically inhabiting that person. In the end, I walk away with a feeling of universal unknowing, and I find comfort in that. You think about all the ubiquitous questions the average human must ask himself: “why am I here?”, “why do we die/why are we born?”, et cetera. When we ask ourselves these questions we almost inherently know we will never find the answers to them, yet we persist until the day we die. By dissecting a cadaver[s], I find myself closer to a feeling of wonderment for everything. And a feeling of closeness to every thing around me because of that same universal cluelessness we all share. - Zena Grey Eyeball by Allyson Grey Eyeball by Alex Grey Eyeball by Zena Grey For more information about the dissection workshops of Gil Hedley, Ph.D., go to somanautics.com & integralanatomy.com p.12 Electric Sheep: Spot Draves p.13 p.14 Electric Sheep is a free, open source screen saver run by thousands of people all over the world. It can be installed on any ordinary PC or Mac. When these computers “sleep,” the screen saver comes on and the computers communicate with each other by the internet to share the work of creating morphing abstract animations known as “sheep.” The result is a collective “android dream,” an homage to Philip K. Dick’s novels Do Androids Dream of Electric Sheep. Anyone watching one of these computers may vote for their favorite animations using the keyboard. The more popular sheep live longer and reproduce according to a genetic algorithm with mutation and cross-over. Hence the flock evolves to please its global audience. You can also design your own sheep and submit them to the gene pool. Electric Sheep realizes the collective dream of sleeping computers from all over the internet. It’s a distributed screen-saver that harnesses idle computers into a render farm with the purpose of animating and evolving artificial life-forms. All the software is open source and users may participate in the network freely and anonymously. Anyone can download and install it. When their computer is idle and goes to sleep, the sheep animations appear, and in parallel the computer goes to work creating new sheep and sharing its results with all other users. Each sheep is about 4 seconds long. Its shape, motion, and color are specified by a genetic code, a long string of numbers. If a user sees a sheep they like, they may press the up arrow key to vote for it. Sheep that receive more votes live longer and are more likely to reproduce. These votes form a fitness function for the aesthetic evolution of the flock. Users can also download software to manually design genomes and post them to the server where they join the flock. I believe the free flow of code is an increasingly important social and artistic force. The proliferation of powerful computers with high-bandwidth network connections forms the substrate of an expanding universe. The electric sheep, and we their shepherds, are colonizing this new frontier. -Spot Scott Draves a.k.a. Spot is a video and software artist residing in New York City and San Francisco. He is the creator of the Fractal Flame algorithm, the Bomb visual-musical instrument, and the Electric Sheep distributed screen-saver. All of Draves’ software artworks are released as open source and distributed free on the internet. His award-winning work has appeared in Wired Magazine, the Prix Ars Electronica, the O’Reilly Emerging Technology Conference, and on the dance-floor at the Sonar festival in Barcelona. He projects live video for underground parties and at clubs, and self-publishes SPOTWORKS, a DVD of abstract animation synchronized with electronic music. His current project is Dreams in High Fidelity, a painting that evolves, and is installed in the lobby of Google’s headquarters. p.15 p.16 Peter Terezakis – Illuminated landscapes Since their 1996 genesis in Pennsylvania’s countryside, Peter Terezakis has set his evening-length kinetic light installations in remarkable vistas across Europe, the United States, and Mexico. After moving to San Diego in 2001, he has made these monthly light installations coincident with CoSM’s Full Moon events as a way to maintain rapport with friends far away, while exploring the extents of a developing a ritual practice that has become his means of spiritual engagement. p.17 Whether experienced in Vlad the Impaler’s Romanian castle, on the heady playa at Burning Man, or at the abandoned landscape of the Salton Sea, the shifting volumes of light alter perception of physical space and evoke a sense of movement beneath the vault of heaven. Evocative images and videos from the work can be viewed at terezakis.com. p.18 An abbreviated excerpt from Shamanic Mysteries of Egypt Consider the possibility that we on planet Earth are part of a dream, an experiment in consciousness that was seeded on this planet eons ago. We are all subject to the natural cycles of life, and the consequences of our choices. Currently, we have entered adolescence replete with a seemingly hormonal lust to become adult gods before we have the spiritual maturity and skill to take full responsibility for our actions and the technological advancements that threaten our extinction. We’re like teenagers playing chicken with the family car. The results are and can be devastating. As we take stock of our collective situation, we realize that nothing short of a quantum leap in consciousness and awareness will be sufficient to turn this run-away car around. In the Age that we are entering, every person must regain his or her sovereignty, and in so doing become as a Pharaoh. The days of charismatic leaders and saviors are over; no one is going to rescue us from the mess we have created. Each of us must step up to the plate and re-member ourselves, and our sacred purpose for being here on the planet, now. p.19 photo by Eli Morgan. Egypt 1995 p.20 In Old Kingdom Egypt, the pharaoh held the power for the entire empire. He was initiated into the highest levels of a sophisticated shamanic/mystical tradition that placed him on equal footing with the gods. In order to sustain his vigor and power he had to periodically renew his connection with the neteru, the gods who are the spiritual source of vitality and wisdom. Details of the rites of the renewal of the King can be found in texts carved into interior pyramid walls, such as those within the Pyramid of Unas at Sakkara. They describe in great detail the Sed Festival and accompanying rites for the jubilee that was celebrated each 30 years of the pharaoh’s reign (although these rites were usually practiced more frequently). Undergoing rigorous initiations and rituals, the pharaoh entered other dimensions of spirit in order to refresh his connections to source in communion with the gods. Through these rites he also renewed his body, including all the organs, and especially the heart. Many of the venerable traditional spiritual paths of various cultures on our planet take years to learn, are restricted, and are inaccessible to most people. Others ceased to grow and atrophied as a result of rigid fundamentalism. New mystery schools are surfacing to assist us in our modern world. In order for us to perpetuate our existence and quality of life, we may need to adapt in order to survive in the poisoned world we have created. Evolution is a slow process, and we simply don’t have time. New iterations of shamanic initiations such as those given to pharaohs of old may provide the boost that we require. Ancient Egyptian adepts left maps for us, some written on papyri and some carved in stone and intended to defy time. Some are hidden, waiting for their perfect time of discovery like termas in the Tibetan tradition, treasures that contain enigmatic teachings that, with appropriate interpretation and guidance, can help us restore our selves and our world. If we can read them with the eyes of the heart, we may be able to find our way. Anubis is the ‘Opener of the Way,’ the psychopomp who is known to be the shaman priest who presides over the rites of the renewal of the heart. In the following abbreviated excerpt from my new book co-authored with Linda Star Wolf, Shamanic Mysteries of Egypt, Awakening the Healing Power of the Heart, Anubis gives us a glimpse of the possibilities of modern iterations of ancient rites. I have merged two chapters here, and edited them to provide a “stand-alone” experience of Anubis and his father, Osiris. p.21 Abbreviated and merged excerpt from Chapter 12, Anubis, and Chapter 13, Osiris: Anubis, the heart/mind priest who presides over these shamanic mysteries of ancient Egypt teaches is to perceive love, life, and death from a new perspective, and walk between the worlds of life and death. . . . Life is light condensed into thick, dense form, with the molecules pulled in close and tight. Death is the vast space in between the molecules. Both are illusions once you fully comprehend their nature and the ease with which we can move from one to the other and back. The image of Anubis appears turned upside down like the image of the Hanged Man in the Tarot, conveying the message of changing your point of view. In helping us to see things from a different perspective, Anubis teaches us compassion for our own journeys as embodied humans. He lures us into death, and lovingly presents us to his father, Osiris. He introduces us to the promise of what will come when we die, and the knowledge that there is a renewal/resurrection. The Osiris mysteries are at the forefront of the search for comprehension of the questions that compel us to grow and evolve. His is everyone’s story, and in Egypt it was the goal of every person to become and awaken as Osiris. It is by our inevitable journey through the dark mysteries of the time of the missing sun, the dark hours of the night and the unknown, that we are re-membered and are conjoined once again with the neterworld of consciousness and divinity. We hold the seeds for the future world. It is in our death, in our willingness to surrender our old form that we give birth to future generations. It is out of our demise—our death and disappointments—that we get the choice to either awaken or stay asleep. Death is a temporary immersion into a divine, blissful energy state, not a boring, blissful place of eternal harps. The heaven or nirvana one seeks is not a sacred place, rather it is a sacred intelligence, in which we are form, or formless. p.22 Journey with Anubis and Osiris Prepare sacred space. Ground and center. Find and kindle your heart flame with love . . . Breathe the heart breath, inhaling simultaneously from Earth and Sky, feeding your heart flame and exhaling radiant light out into the world. . . . In the light of your heart flame, you find yourself in Egypt, at the edge of the Nile. . . . On the shore there is a large tree with twisting branches. One branch is leaning out over the Nile, and from it, Anubis is hanging upside down with his head only a foot above the water, in deep meditation. He looks like a mummy with a golden rope around both his feet. His arms are crossed over his chest. As you come to this place you are struck by this image; it’s as if he is in the womb, or incubating somehow, or as if he is a great yogi in deep meditation awaiting the answer to some important mystery. As if in response to his receptivity, the Nile says, “I am the reflection of the Milky Way. I am the mirror of galactic center. Just as all the cosmic material is swirling in the Milky Way and you reside there as your star self. Here, beneath my surface, are all of the primal elements that are needed to become human. This is where human beings were born, in my waters. I am the reflection. I am the Duat. Some know me as the Underworld, but the truth is, I am the inner world, for you were born within my arms, within my body. You become part of me as you walk to the shoreline S i t now, ready to offer Anubis your intention to learn what facing the he has to teach you about surrender. . . .” river and ponder Anubis, and the concept of surrender he is so eloquently expressing to you. Take as long as you need to fathom what it might be like to face letting go in this way. . . . [Long pause.] Suddenly the golden chord turns into a golden snake. It uncurls itself from around Anubis’s holy feet. He is Jesus. He is Kuan Yin. He is you, we. He is every god/goddess that has become human. When the snake has loosened its hold, Anubis drops sleekly into the water. He doesn’t even make a splash as he disappears from view. . . . “I vision quested in this cave overnight in order to receive initiations that are in the Shamanic Mysteries of Egypt. I believe it is a shaman’s cave used by the ancient people whose hand- At this moment you must trust in that which you cannot see. Go to your mind’s eye and ask yourself the question, “Can I trust in that which I know but do not see?” Sit with this koan by the river’s edge and meditate upon it to see what comes. . . . [Pause.] After sitting in this reflective place of the heart/mind, take a deep breath. Put your feet in the water. Know that you, too, are entering more deeply into the sacredness of becoming fully human. . . . [Pause. . . ) Imagine yourself now as Anubis, hanging from the tamarisk tree over the waters of the Nile. . . .Take the time to feel yourself enter absolute peace of mind and stillness— a tranquil state of full surrender. You hang there as the sun rises and sets, as the winds blow, as the rain falls, as the moon goes through its phases. In the dimension of the neter-world, this will take as long as it takes. (Long pause. . .) As Anubis, you take the plunge into the Underworld to meet Osiris and your death. Surrender yourself completely. . . . Let yourself fall into the deep waters. . . . Let yourself die to all that has been. . . . [Long pause.] Within the absolute peace of your experience, eventually you will become reoriented and will notice that there is a cave beneath the waters under the earth. Its entrance is the portal through which you pass in order to join Osiris in the depths of the Duat (the tomb/womb). . . . When you enter the cave beneath the waters, you see him, looking at you with his bright blue compassionate eyes as he embraces you briefly and you let go into his watery arms. . . . [Pause.] Magically, you feel yourself being lifted back to the surface and gently returned to your position upon the welcoming earth beside the water. Lie down beside the river and put your ear against the earth with your eyes closed. You may feel a strong sense of longing as you listen for Osiris. Listen. . . . His message is stirring beneath the earth. Allow it to come into your being as it stirs you and stirs your heart. . . . [Pause.] Feel the transmutation as the seeds of the future that have been gestating inside your heart now begin to sprout. . . . prints are found on its walls. Tools found nearby are 6500 to 7000 years old in what was then a verdant region with lions and antelopes. It is now a remote, roadless desert in western Egypt.” -NS Perceive the seedlings as they send down their tiny roots. . . . The roots spread down through your heart, down through your body and through your legs and feet. . . . They spread out through your arms and your hands. . . . They come out of your fingertips and your toes and reach deep down into the earth so that they continue to be nurtured from this rich Underworld energy. . . Simultaneously feel the tiny sprouts emerging from your heart as if they were a bouquet of flowers planted upon the earth of your being, like the lotus that grows from the mud and the waters, or a rose bush climbing. . . . You can see all of the wildflowers in the mountains growing and generating out from your heart, and from all across the top of your body, and spreading onto the land. . . . There are water lilies and lotuses blooming over the water, and all the plants that grow around the marshlands and the wetlands. . . Forests spring up from the mountains, and flowers fill the valleys. . . . Fruit trees bloom. . . . Butterflies and hummingbirds, the bees, and all the birds emerge. . . . The great cornucopia of life in its myriad of forms springs forth as the insatiable urge toward life responds. . . . Nothing can hold it back. Continue to contemplate these images of renewal and awakening. [Long pause.] When you are ready and the feeling of completion is upon you, slowly open your eyes and see the beauty that surrounds you. Ground and center. Express your gratitude to Osiris and Anubis for these teachings. With a deep inner knowing, continue to contemplate the mysteries of transmutation from death to life and rebirth. . . . Take some time to journal before you return to your daily activities. p.25 Book illustrations by Kris Waldherr Shamanic Journeys offers travel services and work to build healing and spiritual communities throughout the world. Nicki Scully is the primary guide to an extra-ordinary world of spiritual tours, both to sacred power sites and within the inner planes. Nicki also offers seminars on the Egyptian Mysteries, Alchemical Healing, metaphysics, and related healing arts designed to achieve planetary healing through personal transformation. Nicki’s new book, Shamanic Mysteries of Egypt, Awakening the Healing Power of the Heart is co-authored with Linda Star Wolf. This fresh interpretation of the ancient Egyptian mysteries unites the heart and mind to help us remember our true nature as divine humans with sacred purpose. It guides readers through shamanic portals of death, rebirth, and illumination and gives us powerful tools for transformation. There are rituals, meditations, and rites of passage to help us meet our personal and planetary challenges with more grace, wisdom, and love. This is a book to be experienced as well as read. www.shamanicjourneys.com Linda Star Wolf is the founding Director of Venus Rising Institute for Shamanic Healing Arts and Creator of the Shamanic Breathwork™ Process. Star Wolf has facilitated groups and served as a guide to individuals moving through the full spectrum of spiritual initiations, including addiction, mental illness, shamanic life changes and spiritual transformation. shamanicbreathwork.org p.26 Burning Man: Art in the Desert Introduction by Daniel Pinchbeck photos by A. Leo Nash excerpted from Burning Man: Art in the Desert by A. Leo Nash W hen I recall my visits to Burning Man, my mind fills with arcing lasers and multicolored blinking lights, hallucinatory sunrises, hordes of costumed revelers dancing in the dust, and the enormous bonfires that consume the hand-built sculptures and structures at the end of the week. Burning Man is over-stimulation and cacophonous saturation, where the rhythm of your pulse syncs with the electronic beats that pound 24/7, and sleep is an enemy to be conquered. Who can bear to sleep when so much is happening at every moment, and the promise of so much more is forever held out? At the very instant that you finally lay your weary head down to rest, you can guarantee that somewhere on the Playa a Felliniesque marching band is leading a parade of anarchic booty-shakers into the void, the next great D.J. is spinning her first legendary set from a booth designed to evoke the fishtail curves of an alien spacecraft, an occult ritual is honoring Isis or Baphomet with opulent sincerity and evocative gestures, a Tesla coil is firing lightning bolts at the stars, while a gorgeously tattooed and wickedly grinning couple display their pole-dancing prowess, and an absinthe bar is just opening its doors. Burning Man gives Attention Deficit Disorder a good name. And yet, along with its madcap circus swirls and dazzling displays of human invention, there are other layers and dimensions to the Burning Man experience – moments when the vast silence of the Black Rock Desert (a prehistoric dry lake bed with no natural plant or animal life) and its majestic harshness sweep over you; moments of Zenlike stillness and existential purity; moments when there is nothing but you and the dust. Every year, some of my best times are my quietest ones – bicycling past some spindly sculptural artifact designed to jangle softly as the wind blows through it, or passing a sleeping couple in fuzzy rave clothes, tangled together on a sofa left at the periphery fence, facing a vast expanse of emptiness. Revealing that unexpected underside of Black Rock City, A. Leo Nash’s photographs use the subtle tones of black and white to capture the silence and stillness that hides within the noise. They also isolate elements of a new formal vocabulary – jagged, raggedy, Krazy Kat meets Mad Max in a post-Duchamp Pepperland – that has emerged from fifteen years of experiment in the Nevada wasteland. This aesthetic collages natural forms with fragments of the old industrial culture, welded and repurposed into sinuous and scaled expressions of what the psychedelic philosopher Terence McKenna liked to call “the Archaic Revival,” the melding of our post-modern techno-culture with ancient myth and tribal ceremony. p.27 p.28 Temple of Honor Minarets (2003) Artists: David Best and the Temple Crew In an age when handicra has been exiled to the margins, Burning Man revives something akin to the lost craft traditions and guilds of the Middle Ages – its art collectives, dreadlocked welders, sculptors, and technical experts have apprenticed themselves in the use of fire, steel, plastic, concrete, EL wire, electricity, and wind to create extraordinary spectacles. These artisans return year after year to hone their skills and push the envelope a little further. As a repeat visitor, it is a privilege to witness the evolution of groups like the Flaming Lotus Girls. A women’s art collective, they upstage their own creations annually, from vertical flamethrowers to crashed steel phoenixes, to 2005’s giant serpent coiled around its egg, breathing fire and swiveling its endearingly menacing head via hydraulics. The photographs collected in Burning Man: Art In the Desert wed the aesthetic of Bernd and Hilla Becher, the German photographer couple who found an accidental aesthetic wonderland of theme and variation in rusted water towers and other relics of industrial consciousness that reveal a peculiar and startling poignancy when isolated from the surrounding landscape, to the imagination of Dr. Seuss, spewing ever-new creative possibilities. In Nash’s images, one also catches wisps of Robert Frank, whose secretive portraits of lyrical desolation revealed the cruel illusion of the American Dream. Nash has taken a minimalist approach to a maximalist event, isolating a tonal poetry of sculptural forms in a vast, open landscape. His book is a loving tribute to the art of Burning Man, the central focus of the festival, though the deliciously hedonistic decadence often gets more ink. There are subcategories of images in Nash’s work, such as those that focus on vehicles, from mobile piano bars to transmuted bicycles and rocket cars, to ineffable creations such as the one built by Michael Christian, memorialized in Nebulous Entity (1998). As Carl Jung has discussed, the vehicles that carry dreamers through their dreams indicate the different levels of velocity and selfconfidence with which they traverse the collective unconscious. The “art cars” constructed for Burning Man open new realms of possibility for future dreamers. Christian’s tentacled, semi-reptilian Entity appears in Nash’s image ready to rove toward new vistas of imaginative crossover. What Burning Man calls for, above all, is openness to transformation and wonder. My first visit to the festival permanently changed my idea of art, as well as expanding my belief in human possibility. Although I had written about contemporary art for years, I felt distanced from it, uneasily following the increasingly academic extension of movements such as pop and conceptual art that had once seemed radical and subversive. Burning Man gave me a wider context for considering creativity – in a sense, the greatest work of art at Black Rock City is the entire metropolis, the container of the event, with its circular urban plan and centralized avenues and zany street names, plus the self-organizing support structures, from volunteer rangers to lamplighters. The sculptural aesthetic of Burning Man mixes late-1960s land art, pop, surrealism, and conceptualism into a new form, adding, as well, an extraordinary sense of scale that creates a unique context for experiencing the work that appears there. Many of Nash’s images – which are both “art about art” and works of art in themselves – do a wonderful job of capturing that sense of scale. Part of what makes the event feel explicitly American is its pioneering optimism and faith in the human imagination to match any natural wonder. A picture such as “Anno Domino” 2000 AD2K contrasts a blown-up version of a modest game against distant mountains and far-flung clouds. Other images play with representation in classic deconstructive fashion - in one, a puppet-stage window opens onto a vast dusty expanse; in another, a billboard of photographs of the ocean conceal the desert just behind them. It may be that the art of Burning Man is the new “movement” that European and American contemporary art cognoscenti always pretend they are looking for, changing the rules of creativity for a new generation, but happening under their noses. Post-Burning Man, I find I am less enthusiastic about art as the ego expression of the individual genius, but more fascinated in art as the juncture between the individual and the larger group. On the Playa, art serves as an instrument for meshing together the community, offering them a medium for discovery, for playing and praying, as well as a lens for seeing themselves. It extends the notion of conceptual and performance art to a wider field of human activity, recalling the surrealist doctrine that there should, truly, be no distinction between art and life. When this distinction disappears, product becomes process – and, appropriately, Nash takes a special pleasure in photographing artworks under construction or deconstruction, or hovering somewhere inbetween. When art and life merge, clock time disappears and we plunge into the ecstatic, a temporality of the Archaic Revival, recovering an original relationship to the cosmos. Before history and culture, before bureaucracy and work, before cell phones and laptops, time was cyclical and circular. Aboriginals in Australia believe that every day is the “first day,” the primordial beginning of time and being, and their art and ceremonies help to maintain the creation in its proper order. For such tribal nomadic peoples, there never was a “fall of man” into a degraded state. Their initiatory culture is a means of accessing the higher vibrational frequencies of the Dreamtime, the ever-present origin of the Gods and the Ancestors, which is hidden within the illusory density of the physical world. The tens of thousands who make the annual pilgrimage to the Black Rock Desert are seeking initiation into the perpetual present, utilizing the rusting and groaning artifacts of our over-reaching industrial civilization to access what is beyond time and the machine. According to prophecy, some Native American cultures believe this era to be the time of “dreaming the world awake,” when our post-modern secular world steps through the veil of matter, fusing modalities of science and spirit to discover the infinite other worlds that lie within and without. Eventually, Burning Man may reveal itself as more than an eccentric expression of an old and new counterculture, but a harbinger of a new way of being. Only time will tell. At the moment, it is – as we are – a work in progress. Nash’s images offer an open-sky poetry of forms and fragments, a set of secretive hints that reveal by concealing. Naturally, they have a different valence for Burning Man veterans, who view them through the context of their own experiences and perceptions, than for the art world spectator, who can appreciate their formal elegance from a safer aesthetic distance. Nash has made his own thirteen-year desert pilgrimage and come back with talismans that will help to bridge the cultural divide between the art world cognoscenti, with their studied ironies, and those who are compelled to unlock “the doors of perception” in their pursuit of a new iconic order. p.31 Daniel Pinchbeck is the author of Breaking Open the Head: A Psychedelic Journey into the Heart of Contemporary Shamanism and 2012: The Return of Quetzalcoatl. He lives in New York. A. Leo Nash is a photographer whose work has been widely exhibited. He is a creative participant at Burning Man and collaborates with the artists whose work he documents. He lives in Oakland, Califonia. Published by Harry N. Abrams, Inc. www.hnabooks.com Rime of the Ancient Mariner (2003) Artists: The La Contessa Crew Uchronia at Dawn (2006) Artists: Jan Kriekels, Arne Quinze, and crew p.32 Among the Quechua Indians of Peru, Bolivia, and Ecuador, a despacho ceremony is the centerpiece of a complex spiritual and ritual heritage. Despacho ceremonies are performed to promote health, well-being and prosperity, or when calamity or misfortune befalls the client. Despachos are also used to thank for special events, to celebrate good luck, or to help the soul of a deceased person journey into the beyond. Despachos are performed to promote fertility in fields and herds, to cure illness, or to undo harm or witchcraft. On very special occasions, despachos are also performed when larger cultural or ecological events threaten the entire community. This precious full-color hardcover, meticulously designed by the artists of CoSM Press, is a remembrance of the exquisite Chapel of Sacred Mirrors in New York City. CoSM leads the reader on a guided tour through each magical room in vivid detail, revealing the symbols and meaning of every work of art in the Chapel. 140 pages, 5.3 x 7.5 in., $20 Available for sale at CoSM shop cosm.org • alexgrey.com Also Available from CoSM Press: DAMANHUR TEMPLES of HUMANKIND In the exciting art book, DAMANHUR: Temples of Humankind, author Esperide Ananas finally reveals the five-story underground maze of sacred halls built inside a mountain, and kept secret for more than twenty years from even their closest neighbors. Begun in 1977 in the Italian Alps, the Temples of Damanhur were inspired by the vision of spiritual leader Oberto Airaudi, also known as Falco. Artists and artisans excavated and built this subterranean sacred space, which is at last showcased in 204 exquisite color photographs throughout this 10.5 x 13.75 inch, 122 page book. Foreword by Alex Grey. $50.00 USD Order from www.CoSM.org The specialists who perform such ceremonies are known as Pampa Altomisayoc, which translates roughly as “high priests of the ordinary realm,” the work “pampa” referring both to the level ground of agriculture as well as to the ordinary world of mortals. Over 200 different types of despachos have been recorded, depending on the results desired. In general terms, a despacho is understood as a request for good fortune, its name derived from the Spanish word for missive, message, or care package. This implies that the ritualist is “sending a message” to the realm of spirit in which a particular outcome is being promoted. photography by Eli Morgan. Peru 2007 Mauro 0f Qosqo p.34 Depending on the purpose, a despacho may require the presence of the client, an extended family, or the entire community. Despachos can be performed by individual Altomisayocs, or by teams of altomisayocs, often paired into male and female quadrilles. The end product of a despacho ceremony is a graphic mandala made of a wide assortment of natural and man-made products: seeds and vegetables, gems and minerals, incenses, animal products, and man-made symbols that may depict or symbolize the desired result. In all cases, however, the intent is symbolic and metaphysical, and the understanding is that a despacho allows the client or the community to request a result from the realm of spiritual power. Consequently, despachos are typically addressed to the larger forces of nature: Pachamama (Mother Earth), Apukuna (mountain spirits), Chaskakuna (the stars), Inti (the sun), and so on. In addition, despachos can also be performed as a form of Ayni or reciprocity with the universe. The concept of Ayni is central to Andean shamanism and is based on a mutual dependency between humans, nature, and spiritual forces. Ayni brings balance into our lives and creates relationship between our secular and sacred worlds. Andean metaphysics postulates that human health and well-being depend on balanced reciprocity between all elements of life. Therefore, when soliciting a particular outcome through a despacho, our obligation is not to pray or request for a particular result, but rather to provide beauty, power and energy in the form of a graphic mandala which can then be “exchanged” or bartered for the desired result. p.35 p.36 When working with a despacho, the Altomisayoc is accessing the nonordinary dimensions of reality, the ultimate source of all things. In fact, though the contents of the despacho may have symbolic significance, the intent of its creators transcends any literal or symbolic content, directly accessing archetypal and energetic forces. Don Manuel Q’espi, an elder of the Q’ero tribe, spoke of despachos in this way: “The despacho is a gift – a giving back of what we receive everyday in our lives. We seek, through the despacho ceremony, to bridge the ordinary and non-ordinary realms; to establish new patterns of relationships and possibility. The despacho places us in right relationship, right Ayni, with Pachamama and all of her manifestations.” In order to create a despacho, the Altomisayoc must perfect a specific shamanistic maneuver, the harmonization and balancing of three “bands” or levels of consciousness: yankay, the physical universe, yachay, the spiritual or wisdom realm, and munay, the feeling or heart center. By integrating these qualities with personal intent, the group intent, and gratitude to the earth and nature, which supports all of the community’s endeavors, the despacho re-harmonizes and balances the community into a single energetic body in which the luminous fibers which connect us all are reaffirmed and strengthened. p.37 The despacho contains symbols of everything: the elements, the four directions, weather, clouds, mountains, rainbows, the fruits of human labor, emotions, ideas, and so on. When the offering is complete, the entire assemblage is folded, tied and wrapped in a sacred weaving. It is then offered to the forces of nature either by burning, burying, or by casting into water. The energy of collective intention captured and contained in the despacho is thus released into the universe, where its message of reciprocity and gratitude can reach the most appropriate agent for manifestation. The result is renewed harmony and balance in ordinary life. Alex Stark is an internationally recognized consultant, advisor, and teacher on issues of creativity, efficiency, and design. A graduate of Yale University School of Architecture, he is a practitioner of Feng Shui and European Geomancy. He advises on issues of design and placement for residential, commercial, institutional, and industrial facilities, urban settlements, health care facilities, and on issues of institutional and personal transformation. Alex is CoSM’s resident Shaman and initiated CoSM’s monthly full moon gatherings. p.38 Letter to a Student on the Day of Enrollment in the Academy by Jason Louv Dear Student, We commend you for your decision to enroll in our deeducational program at our Academy. We recognize that you have a choice when seeking alternative education, and are sure we will live up to your expectations. Choosing to remove yourself from the normal course of human life is no small matter. Though we celebrate your clear passion to learn, your acumen in finding our school and your exemplary performance on your entrance exams, we remind you that the illusory nature of the world is maintained wholly by, and for, the best interests of those who dwell in it, yourself included. Upon graduation from the Academy, you will be required to return to, and make your own way in, the world. With degree in hand, however, we are confident that you will more easily find your way to a successful life and will be able to compete with the best in today’s marketplace. Your classes will begin on Monday. Please find enclosed a short prospectus of the work you will be expected to complete in preparation for obtaining a degree. While other institutions you may have been involved with during the time you have so far elapsed on this planet—schools, family, peer groups, government, religions, media—have been established in order to educate you, at the Academy we are concerned with your de-education and the reversal of that which you have learned and experienced up to this point. We are licensed (by the highest authorities) to use a wide array of the most modern and scientifically advanced methods currently extant in order to achieve this. (Please also find attached a waiver form clearing us of any legal responsibility for your physical, emotional or karmic welfare during your time at our school. You will be required to sign and bring this form with you on your first day of class.) During their de-education and de-testing, students will be required to pursue proficiency in identifying, and demonstrating the illusory nature of, thirty-six principles or veils which separate them from the infinite. p.39 Initial study and experimentation will be conducted upon the constitution of matter and the physical world. In your worldly, exoteric education you will have hopefully gained at least a passing knowledge of physics and be aware of the superstring or M-theory that the universe is composed, at base, of vibrations of tiny, supersymmetric strings. However, at our Academy you will be introduced to the five esoteric principles—earth, water, air, fire and space— which exist behind the vibration of matter and from which all matter is constituted and patterned. Through practical, hands-on classroom experimentation with the manipulation of these principles via meditation and ritual, students will soon be able to demonstrate the illusory and arbitrarily malleable nature of matter to their, and their instructors’, full satisfaction. The next stage of the work will be conducted within the student’s perceptual and mental faculties themselves, in which the false identification with a further eighteen veils of illusion dwelling therein will be removed from each student. The first five—smelling, tasting, seeing, touching and hearing—constitute each student’s perceptions, and instructors are well-trained to practically demonstrate the extreme limitations of the senses in relaying any legitimate data whatsoever. Directly thereafter, the five subtle elements of smell, taste, sight, texture and sound themselves will be demonstrated as illusions, in and of themselves. Once the false identification with perceptions and perceivables is removed, so will each student’s false identification with their actions. Here the student’s powers of speech, grasping, moving, speaking and procreation will be shown to have no agency or origination whatsoever in anything approximating the student’s true self and to be, at this stage, a distraction from that true self. We warn in advance that during this stage the student will likely experience extreme disorientation and agitation as the faculties of perception and action they previously identified as belonging to them and constituting them as individuals are disproved as being anything but a flickering picture show projected on the movie screen of the mind. We remind you, however, that we are certified professionals and you need have no fear, for we will quickly proceed to assist you in the reversal of the next underlying principles. These are the mind’s constructed image of the “world,” the mind’s constructed image of the “self,” and the entire illusory proceedings of the vast drama your mind constructs for you from your unreal perceptions of unreal things. Having completed the lessons of the external departments and gone completely inward, the student will soon see that the “world” is an interplay between the false belief that anything exists separately from the self and the p.40 false belief that the self exists as separate from anything. Lessons will immediately commence on identifying, and decommissioning, the function of consciousness which maintains the sense of a limited, rather than an infinite and immortal, self. Before considering removing this function of consciousness, students are asked to take note that it is maintained for the exact same reason that moviegoers pretend not to know if the hero will or will not defuse the bomb and get the girl in the end, even if everybody knows deep down that that’s what happens every time. There are five forces of limitation which maintain the illusion of the “self.” These are the illusions of limited ability, limited understanding, limited willpower, the illusion of linear time and the illusion of singular locality. Beyond this veil of limitation dwell the three functions of divinity—the power to create, the awareness of creation and the will to create itself—and divinity itself, that is, the interplay of unlimited consciousness and unlimited creation, both of which themselves emanate from the Absolute. We refer to this as the Principal’s Office, and it is here that we will completely turn off the mind itself. Having gained a better and more comprehensive grasp of the workings of the universe, students are of course free—even encouraged— to reconstitute the thirty-six veils of illusion we will have at this point trained them to identify and remove, and return to their worldly vocation along with the gift of identification with true reality. Particularly motivated students, of course, will be pleased to know that completion of our program will open wholly new higher education opportunities and career options previously unavailable or even previously hidden to them. Our careers department will be more than pleased to assist you in finding a new track should you choose. Please make sure you’ve enjoyed a good night’s rest before reporting to your first class on Monday. Should you be successful in your studies, and with a bit of luck, it may be the last sleep you ever get. Fiat Lux, _______ __________, Ph. D. Vice Chancellor, Admissions Jason Louv is a New York based writer and editor. He is the editor of Generation Hex, the influential anthology on next generation magicians, and Ultraculture Journal, an downloadable book collection of “the most volatile and direct magickal writing currently available in the English language.” www.ultraculture.org The Rite of the Oracle of DAMANHUR by Esperide Ananas In June 2007 a group of pilgrims from the Chapel of Sacred Mirrors and Wisdom University spent a week visiting Damanhur. We attended and participated in Damanhurian rituals and learned some of the traditions that were reborn in the valley of the Alps over the past 30 years, traditions based on ancient customs well studied by the spiritual people of Damanhur. On the rainy full moon night, we sat in the outdoor Amphitheater, huddled under our umbrellas, watching the pageant of colorful robes, dancers, drummers, and priests that spoke poetry of another language and another world. Rain or shine, snow or ice, Damanhurians light the fire that honors the fullness of the moon. While the full moon ceremony that birthed our Chapel of Sacred Mirrors, carried on in New York City, led by our own wonderful priestesses, we took a teaching under the same moon a half a world away. – Alex and Allyson Grey Since 1987, the Rite of the Oracle, one of the most important celebrations in Damanhur, has taken place every month at the full moon. The public phase in the Open Temple is the culmination of profound and attentive ritual work, carried out by the members of the Way of the Oracle throughout the previous lunar month. The Damanhurian Oracle is not a person but a group of divine Forces, including all the Oracles of ancient times. Integrated with new Forces of the third millennium, they can once again perform their role in guiding humanity. The Forces of the Oracle do not only provide answers and directions, they also interact with all the possible branches of time, moving events so that they become the most propitious for spiritual evolution at many levels – for those receiving an Answer, those participating in the Ritual and for the whole People of Damanhur. During the ritual a window of spiritual light opens and everybody present can contact the divine dimension. Women on the Amphitheater stage are priestesses celebrating the Ritual. In accordance with ancient tradition, they are called Pythies. The Ritual opens with offerings to the divine through the vehicle of Fire. Offerings are from individuals, groups, and members of the Way of the Oracle and other spiritual “Ways” of Damanhur. Last to present their offerings are the King Guides, spiritual navigators of the Federation, who accompany with a prayer of propitiation for the whole people. p.42 Two priestesses illustrate the ritual, in Italian and English, and indicate the magical instruments. Before the entrance of the Pythies into the Temple, a prayer is read and repeated by everyone present. (May the millenary ritual of the Oracle, source of joy, light and inspiration give us the ability Il rito millenario dell’Oracolo, to receive insight. May it reinforce the sacred fonte di gioia, luce e ispirazione bond, that links the divine forces to humankind doni capacità di leggere i segni unfolding through the spiritual channel of this e rinforzi il sacro legame precious divine presence.) espresso nel canale spirituale che unisce le Forze Divine all’umanità. The drumming then starts, while the dancers of the Way of the Oracle trace, with their movements, prayers and propitiations which accompany the whole ritual. In this phase, the Pythies wear pointed silver hats representing their contact with the moon and the function of the priestesses as antennas of communication with the divine. For all participants, this is a time of silence, insight and inner contact with the realm of the sacred. In the next phase, those who had previously requested a Response are accompanied onto the stage to receive their answer. As the ritual work for the compilation of a Response requires time and care, answers are given to questions which have been previously submitted in writing one or more months before the ritual. Recipients of the Response hold a lit candle in their hands, representing spiritual fire. They stand inside a circle subtly traced with a special magical instrument, which makes it easier for divine attention to focus on them. The Response is written on a chestnut leaf and, before being given to the recipient, it is read by a Priestess. In this phase she wears a veil on her face to underline the impersonality of the answer: the Pythia is a vehicle for the answer of the Divine Forces of the Oracle. The sound of her voice is covered by music, so that only the recipient of the Response can hear it. Once all personal Responses have been given, Sirena Ninfea, head of the Way of the Oracle, reads an answer that gives directions for Damanhur and the Spiritual People. At the end of the text, Sirena pronounces the ritual formula: Spoken, forgotten, to underline her function as a pure channel transmitting the messages of Divine Forces, received and elaborated in the previous month. The Response is therefore not given in writing, but it is customary that the participants to the Ritual write it down so that it can be published in Damanhur¹s paper (Qdq) the following day. In this way it can also become a theme for meditation for those not present at the Ritual. At the end of the ceremony, the Priestesses salute the Divine Forces in front of the Sacred Fire and then leave the stage. Before leaving the Open Temple, all participants repeat the following prayer: E’ nutrimento spirituale l’aver partecipato al sacro Rito Oracolare. Ciascuno porti nel mondo la forza d’amore di questa preziosa presenza divina. (It is a spiritual nourishment, to have shared the sacred ritual of the Oracle. May everybody bring to the world the force of love of this precious divine presence.) Enjoy the Ritual, NEFTJ SAT ET The Way of the Oracle HOW TO REQUEST A RESPONSE The Oracle of Damanhur can be consulted by all those who wish to take advantage of this possibility for human and spiritual growth. Individuals and groups from all over the world have requested a response as a precious source of inspiration and insight. If you wish to consult the Oracle, please contact Gazza Solidago at the Welcome Center, tel. +39 0124.512205, [email protected]. The question must be written very clearly, and addressed to the Oracle of Damanhur. Please include a recent photograph of yourself and all the information necessary to understand the context of your question. Specify also your full birth name, and date and place of birth. The request is to be sealed inside an envelope, on which should be written: To the Oracle of Damanhur. The date and time of delivery are also to be clearly indicated on the envelope. It is from this moment that events will start to move in the direction of evolution requested by the person, and clues or hints will start to appear that make it possible to understand the correct course of action. To deliver the request, follow the directions that Gazza will give you. It is customary to include an offering which will be used to support the functions and the sacred spaces in which the quest for the Response takes place. The Response will be ready after one or more lunar months. Gazza will inform you in due course so that you can be present at the ritual. In case it is not possible for you to come to Damanhur to deliver your question, you can discuss with Gazza delivering it by mail or email. In order to receive the Response and enjoy its full ritual and energetic transmission, it is essential to go to Damanhur and participate in the Rite of the Oracle. Only in cases of extreme need is it possible to designate a person to receive it on your behalf. Esperide Ananas led the press campaign to save the Temples of Humankind at Damanhur, an Italian intentional community, and has been their International Ambassador for ten years. Author of Damanhur, the Temples of Humankind, published by CoSM Press, she recently co-authored two graphic novels on the history of Damanhur. Fluent in five languages, Ananas also works for a British consulting company, dedicated to bringing the arts, creativity and an ethical vision into the world of business and government. p.44 JOURNEY: Ritual Theater Performed at SYNERGENESIS 3 SF, CA : Nov. 18, 2006 p.45 Photos by Kyle Hailey at Syneregenisis 2006: wetribe.com p.46 Journey An open letter of process and intention written by Eve Bradford In a time severely lacking in both initiatory rites of passage and artistic expression that is political and mystical, we three, the Moirae, have been called by our secret names into a mysterious journey. We have been called by a silent voice to allow the divine source to speak through us in the form of these offerings, combining ritual, movement, adornment, poetry, music and storytelling to create a collective experience of applicable potency and humble empowerment. The story of this collective and of the work we are doing as ritualists, performers and culture crafters is one steeped in the intuitive magic and collaborative spirit of west coast visionary culture. To tell the story of Journey, a ritualized theatrical journey of the Fool upon the Tree of Life, traveling through the major arcana of the Tarot deck, is also to tell the story of one current within a growing subculture of the west coast of North America. This community is highly nomadic, collaborating across continents on a wide variety of art, design, performance, writing and new media projects, drawing from a wide variety of ancient wisdom traditions and contemporary technologies. Journey was created over the course of a year, in Bali, British Colombia and San Francisco with much of the collaborative process happening via the internet. Much of how the script came into being was deeply connected to our own personal evolutions and ritual work. One of the main attributes of ritual theater, (or as it is sometimes called, prayerformance) is that rather than simply playing a role, each performer is called to channel an archetypal energy that is both necessary for the piece and deeply relevant to his/her own personal psycho-spiritual work at the time of the process. Time and time again, above and beyond anything we could have known consciously, the piece that each performer is holding is exactly the medicine needed at that moment in their lives. Creating this work was not like creating any sort of traditional theatre piece. Growing out of work we three had already done with the Tree of Life in previous performances, we began scripting in Bali, where all three of us were working on other creative projects. Over the next several months the script was sent back and forth between us as we traversed the globe, our selves evolving along with the storyline, continually revealing the interpenetration of our own personal journeys and the medicine of the work coming through. Journey: ritual theater co-created by: Isis, Eve and Raven stage manager: CeLena deLphi visuals: onbeyond metamedia Cast: Madeleina Sasha Rose Kathryn June Audette Sophia Ginn Pema Keystarra Natalia Price Anahata Lynzee Dava Lynx Ben Nikila Badua Dee Paradox Pollack Nonny P Tarran the Tailor Marisa Scirocco Isis Indriya Raven Eve LadyApples Jody Starfish Ananya Tenley Mitchel Georgia Varaday Eli Morgan Destino Micah La Laurrien Isaac Rappaport Jessica Bottomly Kyrian Prayformance of Interview by Julie Van Amerongen “If my karma is good, then I will die well. ‘Dying well’ means that I will die the way I intend - doing my death dance. My prayformance is my death dance.” – S.K. THOTH You never forget the first time you experience S.K. Thoth. Costumed like an ancient Greek superhero, complete with loincloth and a red feathered headdress, he is a striking sight to behold. Then he opens his mouth and begins to sing in his three range operatic voice, with a violin on his shoulder, dancing like a man possessed by something otherworldly, stomping rhythms with his heeled sandals and belled ankles making an indelible impression in your mind. We three, the Moirae; Raven, Isis, Eve offer our profound thanks to all who have participated thus far in the realization of this vision. We joyfully anticipate its further unfolding, and the keys that it holds for our collective evolution. At its core, this work is a call to action, an invitation to step into your power and craft a sustainable, abundant reality through the full realization of your unique offering. If you feel called to support the manifestation of this vision, please contact [email protected] photos by Susana Bates p.50 Thoth calls this expression “prayformance” in which he presents his “solopera,” a multi-disciplined and multi-media performance piece, drawing on the mythological world of the Festad about which he has been writing since he was a child. The story of his life was made into an Oscar-winning documentary film. In what ways has your life changed as a result of the documentary film win and your appearance at the Academy Awards? I stopped getting harassed by a certain police officer on a regular basis named Officer Joe. Officer Joe would interrupt my prayformances in the Angel Tunnel and force me to pack up my things which he had no right to do. When Sarah (Kernochan, director) was shooting the film, his behavior was caught on film. After I came back from the Academy Awards, he was unusually friendly and chatty. He congratulated me for the Academy Award and asked if he was in the film, afraid everybody had seen him harassing me. Officer Joe has since stopped bothering me. The majority of your prayformances are in Central Park. Why have you chosen this route, as opposed to more traditional music venues? Is it a challenge to build a loyal audience because of the large number of tourists in the park? I will go anywhere to prayform if my work is welcomed. That said, I have chosen tunnels in Central Park to prayform because they have beautiful acoustics; much better than “traditional music venues” which have been gutted to make way for the loud amplified music revolution. The Angel Tunnel or Trefoil Arch offers me the best opportunity to fully express my work daily and provides me with a small amount of money from donations. Additionally, I have yet to find a “traditional music venue” that is fully open to my work. For a street performer, it is a challenge to build a loyal audience or fan base. p.51 The language your songs are written in is one of your own creation. What is it like singing in a language foreign to the people who hear you? It is liberating! When someone sings in English those who don’t understand English are left out. In my case, everyone is equally left out. Music, not words, is the universal language of the soul. Your outward appearance is intentionally colorful. What do you intend people to infer from your costume and what kinds of reactions do you get? People’s main reaction to my costume is that they want to know what I’m wearing under my loin cloth. I don’t concern myself with what people infer from my costume. My intention is to be true to the costuming of Nular-in - the heroic hermaphrodite and narrator of my solopera “THE HERMA: The Life and Land of Nular-in.” I noticed that you write performance notes with both hands creating a mirror image simultaneously. Describe what’s going on there. I use both hands with everything, switching hands to do simple or complex tasks like throwing a ball, cutting food, shaving, eating, etc.... I also play the violin left and right. Writing with both hands reminds me that one of my many practices during a prayformance is to seek to maintain balance - be neither yin nor yang but be the orb that embraces both. You have a new CD coming out. What can we expect to hear? “Space Gypsies” is my first CD since releasing the entire solopera. It is a collaboration with my friend Rhan Wilson. We took formerly recorded tracks from the 1990’s and updated them with new material. The result is a tonal adventure similar to something Maurice Ravel might have done. It is the first time I have been overdubbed singing with myself. You can hear some of it here: www.altared.com/space_gypsies Where do you see yourself in five years? I will either be prayforming or dead; and my life’s work “The Festad an encyclopedia of an imaginary world, “ which will be finished yet incomplete at my death, will be further developed. L. Caruana G n o stic pa in ter I am the True Vine, the Aya Huasca, the Vine of the Dead. 2006, 40 x 70, oil in 5 part medium I remember that, not long ago, I was one with the all. But, one day, I fell from the divine light and became a faint spark in the dark swirling abyss. The next thing I knew, I was staring at the front door - that’s my earliest childhood memory. I was now ‘me’. Then, at university, I realized the Gnostics were right after all: ‘you have gone astray!’ they cried. ‘Find the way back!’ I left Toronto and started wandering. First Western Europe, then Eastern. A year in Vienna, to study painting. Two years in Malta, to find my roots (I didn’t). Three years in Munich, where my painting became a doorway to the divine light. A year in Monaco, to apprentice under Ernst Fuchs, who taught me how to swim in the luminous waters surrounding that divine light. I kept wandering - Egypt, India, Mexico and Tibet. Along the way, I learned to ‘enter through the image’. Enigmatic icons from my dreams and entheogenic experiences became so many passageways out of here. Now, after living in Paris for several years, I drink a coffee every morning at the local brasserie and feel very French. I have a French wife, even a French cat. So I plant myself before my French easel and start painting. Soon I find myself swimming once more in the luminous waters. A door opens and, the next thing I know, I’m gazing with uncomprehending clarity at the divine light. Then, I remember... L. Caruana is the author of numerous books on occult thought and imagery including The Visionary Art Manifesto and currently edits The Visionary Revue: the On-line Journal of Visionary Art. p.55 Ave Aum Ave - The Face of Kali, 2004, 50 x 80, oil in 5 part medium LCaruana.com VisionaryRevue.com p.56 Blair MacKenzie Blake graduated from Miskatonic University in the 1970s, which inspired him to become a professional mysteryologist. As the founding member of the experimental magick-oriented P.U.P. Lodge, Mr. Blake has been studying, practicing, and writing about the western esoteric tradition for over twenty years. More recently, he has been focusing his attention on the neurochemical basis of successful magickal workings (and paranormal activity in general). Through a careful examination of cryptic references in occult literature and grail iconography, he suggests that the psychic transmutation of the alchemical opus is actually facilitated by a post-mortem endogenous substance that he describes as “the Residuum of Paradise” (called by others “The Philosopher’s Stone”). Incorporating a magical vocabulary and Nightside symbolism, his first book, IJYNX, a collection of occult prose-poems, attempts to convey the ritually-machined ecstatic states that allow one access to hyper-dimensions of consciousness and encounters with trans-mundane entities. He is currently one of the contributing authors of an anthology entitled “Dark Lore – Volume One”, and is simultaneously working on several books with occult themes. For nearly 8 years he has been the writer/content manager for Toolband.com, ToolArmy.com and DannyCarey. org. A classically trained musician (and card-carrying psychonaut in the 1970s) he was the co-writer of the prog rock rhapsody Assault on Merryland by “Surprise”, and also appeared on the Butcher CD Auricle as a songwriter, keyboardist, and wordsmith. Mr. Blake is an avid collector of antiquarian books (specializing in the occult), and is a well-traveled, non-apologist ufologist. The self-described heathen near-Vegan resides in Los Angeles, but spends much of his time in the state of Texas, where he brakes for armadillos, barbecue shacks, and anomalous black aeroforms (that he doesn’t shoot at). p.57 p.58 Andrew Jones Confessions of a live painter One of the most important functions of an artist is to capture a reflection of the contemporized world around him. All my life I have spent in the pursuit of this goal, from studying the intricate insertion and exertion points of cadavers in medical school to the temperature change and color variations of a Colorado sunrise in winter. Upon reviewing the years of discipline and dedication I have put forth in my path, one trait seemed to resonate throughout the work: isolation. Even though my goals were to recapitulate a living world around me, I often found myself alone and in a quiet place of solitude while creating my work. Over the years I have noticed the almost double life I lead between my time enjoying and living life and the isolated manner in which I chose to concentrate to record it. Being a child and a product of a heavily synthetic culture and era I have been dedicating a large portion of my creative energy to the digital realm of manifesting images. I have found no faster, efficient and more verbose tool to transcribe my creativity and energy into images than the use of a computer, digital painting package and pressure sensitive digital drawing tablet. At its core, digital art is the manipulation of light and energy. I have often found the medium similar to the electrical impulses of thoughts and dreams. My live painting consists of a laptop supported on a tripod and oversized, modified digital drawing tables. I use a program called Corel painter X to create the image and multiple projectors to display the image to the audience. I find it most helpful to begin the live paintings with no sketches or intentions, just a blank canvas and a willing and open heart. This gives spirit more of an opportunity to work through me. p.59 Andrew Jones, Of Her, 2006, digital This paradigm and mythology I had been subscribing to over the years ended the day I fastened a guitar strap to my 12 x 19 inch wacom digital art tablet, and recklessly jumped onboard the Bassnectar bus for a west coast live painting tour across North America. p.60 Over the course of a few days I traded the comfort of my quiet art studio for a spot on stage, within a synesthesia of music and sound, thousands of dancing screaming people and bass so thick you can feel it rattle up your spine. Live painting is an altered state of consciousness which can make you so present there is no time for second guessing. It’s like surfing a tsunami of energy. Live painting is a performance art and the crowd is an integral aspect of the finished piece. Over the past few months I have had the opportunity to create live paintings for Random Rab, Edit and the Glitch Mob, Rabbit and the Moon, Sphongle and the honor of painting alongside Alex Grey at an Entheocentic Salon at CoSM in New York City. At the onset of my career as a digital live painter it was my goal to create images from my imagination that would strike a cord of beauty with the audience. Since its inception it has evolved with a completely new intention. The underground music culture is complimented by its underground spirituality. For many of the people, these events are their church, their dances are their prayers to the creator. As I witness Bassnectars dj Lorin manipulating the music, I see him as nothing short of a modern day wizard . His music is like an alchemy that resonates out of the applied speakers and sub woofers into the minds and hearts of thousands of open vessels. The energy they receive from the music is then converted to movement and dance. Digital live painting at events and festivals has completely eclipsed my creative career. I have set my intentions to visual record and communicate the energy and power of this movement. My next adventure will bring me on a live painting tour across Japan, Asia and Europe’s Glade festival, and then to burning man. It is work that needs to be done and the work that I know in my heart I was born to do. -Andrew Jones p.61 Andrew Jones, DMT Bitch, 2006, digital WWW.ANDROIDJONES.COM p.62 http://www.crystalandspore.com p.63 Denny Daikeler EGGS ON END: STANDING ON CEREMONY By Donna Henes, Urban Shaman For the past 35 years, I have served as urban shaman, celebration artist and unofficial “Commissioner of Public Spirit” of New York City, producing countless public participatory events and ceremonies in parks, plazas, museums, hospitals, institutions of learning, correctional facilities and the streets in over 100 cities and 9 countries. Why practice a daily remembrance? In our lifetime there are so many events that tradition ritualizes. Birth/baptism, marriage, death. These are precious observances, but personal ritual can remind us that life is sacred, precious, momentous. A new paradigm now begs the inner guru, the Self-Authority, which may reject the prescription and rote of traditional religious rituals. Our own creation of physical observance through ritual can remind us of what we cherish. Morning rituals, such as a daily reading, a meditation, a prayer, or a visualization, are profound ways to start your day that will affect your life. A practice of mindfulness could be as simple as deciding to touch your heart everytime you leave home as a way to bless your journey and to honor an outing with clarity and dignity. Intentionality and personal expression can deepen your powers of observance and heighten your creativity as you design your personal ritual. Ritual power objects, incense, a rose quartz heart or crystals, a sacred book or journal, an altar on a window sill or a special place in your home that you often pass can take you to the depth of a moment, or a feeling of gratitude. A commemorative candle can be a symbol of burning away something you want to release. Watching a flower float down stream could symbolize forward movement in some aspect of your life. Dancing in moonlight while holding an intention firmly in your mind might be a ritual of freedom and joy. A ritual can be complicated or simple. Daily practice heightens your awareness and brings you back to the “now” in the hectic world in which we live, grounding you, renewing your commitment. So, chant, dance, pray and allow daily practices to become the tools that connect you to yourself, to the Divine within, and with the incredible dance of life. Interior designer, author, speaker, and workshop facilitator, Reverend Denny Daikeler has incorporated spirituality and environmental psychology into her interior design process or over 20 years. Featured in magazines as diverse as Cosmopolitan, Wall Street Journal and Visions, Denny brings transformation through interior design. She shares her journey in her recent book, What Color is Your Slipcover: How Discovering Your Design Personality Can Help You Create the Home of Your Dreams (Rodale Press, 2004). dennydaikeler.com As shaman, I create contemporary ritual for my community, which is all of humanity. I catalyze, organize, instigate, innovate, and de-mystified creative interaction, celebration and communion. I facilitate non-threatening, trance-formative interrelationships that are spiritually charged, stimulating and safe, providing a visceral sense of cosmic interconnectivity. A majority of the population dwells in sprawling, paved, loud, light-polluted megalopolises, disenfranchised from a natural world in the process of disappearing. Living in the solar system, we are upside down, rotating and revolving, spinning through space at a terrific speed, with patterns from which we are usually detached. To save our planet from ourselves we must begin with conscious connectedness to our planet. Guiding the sky show, I keep track of the seasons and cycles, and share enthusiastic awe and abiding love of this, our vastly complex universe. The first day of summer! The longest day of the year! The shortest day of the year! We can’t see the moon but it’s still there! The moon is full! The moon is covering the sun! Yo! The sun is covering the moon! Stop! Look! Listen! Puzzle! Respond! Respect! Revere! Rejoice! Involve! Evolve! p.66 CELESTIALLY AUSPICIOUS OCCASIONS serve as milestones with which to measure our macro/micro cosmic movements. By noting these times, we associate and participate in the planetary cycle of our solar system, seasons of the year and of our lives. In pre-revolutionary China, it was customary to stand eggs on their end on the first day of spring to guarantee good luck for the entire year. I demonstrated this for the first time at 6:50 a.m on the spring equinox in 1976. A photo of our eggs standing against a brilliantly lit skyscraper background appeared in the New York Times after our demonstration the following year. It has been by far my most popular work. The eggs have been covered and carried by every major television, radio, and wire service network in the world. It is incalculable just how many millions of people have been exposed to and inspired by this delightful demonstration of astronomy, turned on by this silly science tidbit. Just seeing this phenomenon happen on TV or reading about it in a magazine sparks a zestful curiosity and appreciation of the mysteries of nature. The ceremony has developed, trance-forming a secular public place into a sacred space. Scientific and mythic information sheets are handed out along with jelly eggs. Flares are lit to denote the number of days, weeks, months in a year. An orange laundry basket containing 360 eggs is passed among the crowd. Together, we all hold them up in the air, pledging to walk on the earth as if we were walking on eggs. Promising anew, to honor the season and protect our fragile yet resilient planet home. p.67 Counting down the minutes to the equinox, we stand our eggs in unison in salute to spring. The image and experience, of eggs standing upright touches people in a very deep place, accessing rare emotions, eliciting a connection with the timeless. Feeling the yolk shifting inside to find its perfect point of balance is like holding the entire universe in the palm of your hand. The excitement is profound and never forgotten. I receive notes, clippings, testimonials, feedback and photos from those who stand with friends, family, eggs standing on book shelves, kitchen tables, driveways, on a boat in the Caribbean, by kids, astronomers, physicists, and pet cats. Coming at the first moment of spring, the standing egg is the symbol of a new season, the birth of new life, a vernal fertility rite, a perennial celebration of the return of green and growth and light after the dark winter. Like the buds, the birds, of early spring, we, too, are renewed, refreshed, energetic, recharged with optimistic resolve, and a new understanding of the real world. p.68 A Brief History of the Thoth Tarot by Aleister Crowley and Lady Frieda Harris Written by William Breeze and published in The Magical Link According to many authorities, the Tarot first appeared in Europe in the 15th Century, Italy, but is generally believed to have an Oriental origin. Many students, including Aleister Crowley, attribute the ultimate origin of the Tarot to the Egyptians, terming it the Book of Thoth. Thoth, God inventor of writing and Magick, is the Egyptian counterpart to the Greek god Mercury, or Hermes Trismegistus, the semi-mythical classical author whose works, whether spurious or genuine, fueled the Italian Renaissance and neo-platonic wisdom literature being published by the earliest Italian printing press. Printing became sacred to Thoth, as an extension of writing and the first European Tarot Trumps appeared at the court of a Medici prince. Many present day Tarot cards retain strong marks of Medieval and Renaissance Europe, utilizing images of and feudal aristocracy, Christian symbolism, and symbolism expressing of the collective unconscious of the period. The Trump XIII, “Death”, for example, pictures the skeletal Reaper with his scythe, a familiar figure to plague-ridden Europe. The exact Qabalistic attributions of the Tarot Cards were, according to Crowley, among the most closely guarded magical secrets of the turn of the century. To initiates, the Tarot represents redemption and union with Godhead. The Trumps, or lead cards, are more than mere divination tools to foretell events. They correspond to “paths” of the Qabalistic Tree of Life that are glyphs of the actual steps on the path. Making the keys to occult knowledge generally accessible to all was a lifetime commitment for Aleister Crowley. He reasoned that since the real secret is known through direct experience, and direct experience is archived through individual merit and effort, the “secret” was not in jeopardy. To paraphrase Crowley, an Arcanum that can be revealed is not an Arcanum. The art of making, using and interpreting the 78 cards of the Tarot was one of the subjects taught in the Hermetic Order of the Golden Dawn. Soon after joining the Golden Dawn, Crowley received the secret lecture on the Tarot, sometimes entitled Book T, which gave the Initiated interpretation of the cards. By 1909, schism fragmented the Order of the Golden Dawn, and Crowley felt obligated to publish the previously secret Golden Dawn Tarot attributions in his reference book Liber 777, and later in The Equinox, his magical journal. Crowley used the Tarot as the basis of many of his writings. He expressed dissatisfaction with all available Tarot cards and always wanted to design a Tarot deck based on his own interpretations. Living in London in 1937, Crowley was introduced to Lady Frieda Harris, an accomplished artist and wife of a British Parliamentarian. p.69 Although Harris claimed no knowledge of Tarot, Crowley suggested that they collaborate on producing a new pack. Harris who became Crowley’s private student, was admitted to the Ordo Templi Orientis, and took the magical name Soro Tzaba. p.70 Crowley soon realized that the Equinox designs were “artistically impracticable,” and Harris suggested that she and Crowley create together a completely new Tarot, with an accompanying book. From 1938 to 1942, the Thoth Tarot gradually came into being. Due to war conditions in London and the difficulty of travel, Crowley wrote in London, and Harris painted in the countryside, rarely meeting and communicated through mail. Harris prepared watercolors of the cards from Crowley’s rough sketches and descriptions, some cards repainted five or six times. While it was true that Harris never mastered the Tarot as a discipline, something she would freely acknowledge, her artist vision gave the paintings their intense vitality. Published by the Ordo Templi Orientis in 1944, Crowley and Harris released the Book of Thoth as a limited edition of 200 numbered copies, under Crowley’s magical name, The Master Therion. Only eight cards were produced in color, the rest in black and white. The full color Thoth Deck remained unpublished for many years. Crowley intended that the Thoth Tarot serve as a Magical Atlas and Guide to the Universe for this modern Aeon of Horus, a time of self-realization and growing awareness of the spiritual. He wrote, “To me this Work on the Tarot is an Encyclopedia of all serious ‘occult’ philosophy. It is a standard Book of Reference, which will determine the entire course of mystical and magical thought for the next 2,000 years.” With help from Lady Frieda Harris, Crowley created a profound and enduring work of undeniable beauty. WILLIAM BREEZE is a musician and a scholar of magical arts. He is the editor of numerous works including The Equinox, Volume III, Number 10, The Equinox of the Gods, Magick: Liber ABA: Book 4, The General Principles of Astrology. p.71 p.72 Of Thee I Sing by Brett Bevel Into the abyss of me let’s go! Into the syringe of blood whirling where I sold the plasma of myself like pints of beer Into screams at night where my lungs shattered into glass and became the collective consciousness of white suburban self hate Into Nestle candy bars of soylent green recycled death of African children who had no milk to drink when their mothers tits went dry from American baby formula substitute of genetics Into pale laughter and Playboy airbrushed teenage fantasy worlds where Ms Pac-Man ate my enemies and no one wept for the ants, spiders, moths and lizards tortured by the hands of an angry child Into glue testosterone and battleships made of plastic…just like my own parents and credit card plastic Gods unto which we gave and suffered until there was nothing left of us damned into an ever increasing interest rate on our own sins Into a mythology of serial killers Charlie Manson Christmas Special television emptiness snarled upon us by the teeth of the Neilson ratings Into cartoon heroes and cereal box friendships where I made it with Captain Crunch, and Tony the Tiger is a drag queen and the Silly Rabbit is just a pimp selling kiddie porn saying “tricks are for kids.” Into fast cars with wheels of karma that shred our old friends into paper doll corpses linked hand in hand as if to carry flowers from prom to graduation to funeral p.73 Into ladybug hypnotists who dance naked and taught us to sing to the many colored cats singing hundred dollar high notes like sopranos who carve operas on their thighs with tattoos and swallow every note of every song of every man weeping Into drums of Hopi and Navajo fry bread where the tears of the land are wrapped in uranium then buried in the colon of America of thee I sing of thee who wanted to be an artist learned the art of fear wearing mask upon mask until their own face became like aluminum foil of thee who knew no language of the trees and gave their allegiance to concrete and asphalt and an eternity of napkins with which to cover their eyes from the holocaust of Earth of thee who erases their own name constantly on the blackboard of childhood memory where the teacher told them to write ten thousand times per day “I do not exist I do not exist I do not exist” of thee who chants and sits and prays wanting only to ask out loud: Is there anyone who really sees me? Sweet nirvana you will never rain upon those of us who cannot say exactly who we are and exactly where we come from Into the purgatory of me let’s go! Where I crucified my teddy bear to create a God who could understand children Into long drives that revealed to me the poem of many the working broken poem of America into café after cafe of coffee colored words where I dove into an ocean of underpants and sweet tears Where the scars of my childhood are portals into unnamed universes Into my perfect name let’s go! where I am the verb “to be” the word of myself growing a sound uttered off a tongue worshiped holy into subway conversations on the meaning of post-Colonialism where she tore down the anti-abortion pamphlets glued to the train walls inside our consciousness and I am that I am the bliss between the letters of my own history and I am that I am Hare Me Hare Me Me Me Hare Hare parting the Red Sea of my illusions born again baptized preaching sermons of poetry chanting: gate gate paragate parasvam gate bodhi svaha where all acts of love and pleasure are my rituals of thee I sing Jehova, Aloha, Va’daath, Ram, Ram, Ram, Ram Sa Sekhem Sahu Into LSD hashish methadone highs that made our skulls porous enough to question and stupid enough to kill ourselves into being broke starving dishwashers who ate macaroni and cheese until Kraft was written on our stomach walls who busted up openly to forever: “I am nothing but a poem in the mouth of the universe swimming among spit and curses and song” who say that tips are spit spelled backwards in the eyes of those who question the menu of life of thee I sing who sweat blood stigmata after alcohol then saw the beard of Jesus between her legs Into the Divine of me let’s go! Come into me! Om into me! I am the Alpha and Omega of me where all the colors of all my actions are absorbed I am the speed of my own light I am the ultimate law in the universe of my own experience and know that God-dess has been with me from the beginning and is that which is attained at the end of desire Brett Bevell is the author of the illustrated poetry book America Needs A Buddhist President (White Cloud Press, 2004), a poem which initially aired nationwide on NPR’s “All Things Considered.” Bevell’s poetry has receiving wide critical acclaim from authors including Anne Waldmen, Rha Goddess, and John Perkins, A widely published poet, Bevell’s work was featured in Earth First Journal, Publishers Weekly, and the Buddhist magazine Tricycle. Brett has electrified audiences around the world with his masterful live oral recitations, and has often been compared to the late poet Allen Ginsberg. Brett is a frequent guest artist at COSM’s Full Moon Gatherings. p.74 Influenced by of North and South Native American cultures, as well as Spanish and Western motifs, Sukaya brings together primal elements of Shipibo embroidery, Alpaca, feathers, domestic animal skins, denim, and leather. Founded by Paola Saavdra and Eli Morgan in 2007, Sukaya came about through a shared fascination in textile design being a spiritual art. Connecting with the Shipibo community, and studying the textile designs of the Andes, Morgan and Saavdra realized the protective power of those fabrics. “You can wear your prayers, we see our clothing as spirit armor. Everyday is a ritual when you dress, Sukaya believes that the power of this ritual should amplify the spirit, call upon archetypes and protect both physically and spiritually.” p.75 Working directly with the shamans and textile artisan of Peru, many of the custom designs have prayers of protection woven in to them. “For instance, many of the Shipibo patterns are maps of the cosmos, wearing them guide and comfort. We are not asking any one to believe in anything. However most would agree that Fashion is there to empower. One of the things that is missing from modern life is a sense of ritual, we want to bring that into peoples lives every day.” p.76 For three years the CoSM community has gathered one night in July under the stars to celebrate creativity, divinity and summer. The traditional all-night fire circle includes watching the sun go down, sitting and dancing around a blazing fire, offering and receiving songs and stories, rhythms and rhymes, recollecting and connecting with one of the most ancient of all human ritual practices. In remembrance of Pagan nature worship, which includes all the elements of nature, CoSM Fire has become a tradition of coalescing like-minds for the purpose of visioning the Chapel and rallying the community around that goal. The spectacular fire ceremony this year was choreographed by Brian James and the illustrious troup, Phantomime. Acting out in costume and fire dancing implements, the minstrels interpreted a few key Alex Grey performances. “The Beast” was portrayed by camouflaged dancers and a huge spider’s web grid of fire. Mournful TOOL music blasted, as soldier fire dancers fell to the ground. Replacing the battlefield with an awesome positive and creative energy, completely naked lovers held a fiery eight-foot infinity band between them and later dancers brought forth a giant flaming CoSM Eye of Spirit. Performers reconnected with the tribe back at the bon fire, where over twenty individuals stepped forward one at a time to recite from memory profound passages from “The Mission of Art”, an honor that will be held dear in our hearts. Thanks goes to Imani, shaman and wizard extraordinaire, and her collaborative team, who support the evolution of consciousness, through art, drumming, dance and community, one fire at a time. p.77 p.78 There is a mystery school that will meet you at the edge of the forest, or in the middle of the city. It is a place where you will meet conscious collaborators who gather at a sacred fire. Whether a cauldron with candles, or a 10 foot tall bonfire, these rituals provide a portal to your center and tend to the fire of your soul. There are artists, musicians, seekers and shamans who support this mystery, yet no one person will tell you they are the master or mistress of this ceremony. Instead you will find a kindred tribe, of old and new friends, seeking to instigate and co-create a journey that navigates the realms of intuition, music, dance, collaborative art and healing. With an honoring and deep respect for the integrity of the ancient ways of the shaman, and an inclusive vision of who we are today, these rituals of sacred drumming, dance and collaborative art embrace the practices and passions of tradition and improvisation. We connect with each other and the sacred fire to blend the best of our resources and skills to honor the sacred in all life. The environments of the drum and dance rituals at CoSM are designed by Mz. imani and a team of rotating artists. Our goal is to transcend ordinary reality, by taking the blank canvas of open space to co- create a temporary temple of transformation. We offer the rhythms of our drums, the songs and poems of our hearts and the knowledge of our souls to help the heart of humanity heal, One Fire At A Time. When the dawn breaks and the sun rises, the mystery becomes a memory that lives on and leaves our lives forever changed. Mz. imani A visionary vocalist, inspirational drummer, and sacred alchemist, Mz. imani blends respect for the laws of nature with deep faith in spirit’s desire for humanity to live in peace. This combination co-creates harmony, the essential gold alchemists have sought through the ages. She is the lead instigator of Conscious Collaborations, a production team that sponsors All Night Fire Circle events and local drum and dance events to help the heart of humanity heal, one fire at a time. CoSM’s Full Moon Gatherings have been blessed with Mz. Imani’s initiation of ceremony and drum and dance. p.79 p.80 by Naasko Wripple Held every two years under the August full moon in Portugal’s sun-drenched countryside, the Boom Festival is a renowned multicultural gathering of the global psy-trance community. Attracting over 20,000 people, the Boom is a major destination on the world festival circuit bringing together a rich and colorful mix of people from around the planet. Over its 10 years it has called people from all walks of life to immerse themselves in a cutting edge visionary environment for 6 days and 5 nights of music, dance, art and culture. Focused on the dynamic intersection of consciousness and community, the festival acts as creative hub of radical transformation existing beyond the confines of everyday life. As an enclave of the free, the festival occurs between the folds of conventional time-space in what Hakim Bey has called a temporary autonomous zone, or ‘TAZ’. Aligned with the full moon cycle, the Boom represents a contemporary ritual gathering of a non-local network of scattered trance tribes. As one of those ever-shifting cultural power spots around the world the festival grounds have, over the years, brought tens of thousands of people together to dance, live and share in the spirit of global unity. Having taken innovative steps to enhance the festival experience each edition, the Boom has promoted a path of conscious evolution by providing an alternative area for those seeking to broaden their horizons beyond the trance. Located on the edge of the dance floor, the Liminal Village has grown as a core area of the Boom Festival since 2002. Offering a interactive space for the expanded mind to return to ground, the Village consists of an integrated curriculum of holistic workshops and feature presentations in addition to several interconnected zones. With an extensive visionary art gallery, healing sanctuary, cinema, gardens and various installations, this area evolved over 2004 and 2006 to become a kind of global interface for exploring the contours of a new world. p.81 Stemming from the Latin word limen, meaning ‘a threshold’, the term liminal refers to “a state or place characterized by ambiguity, openness, and a sense of being in between.” The theories of anthropologist Victor Turner and others use liminality to describe the quality of the second stage of a ritual or rite of passage whereby the participant undergoes a transformation of some kind. The liminal, in this respect, is a realm where one’s sense of identity dissolves, suspending one’s normal limits of thought, self-understanding and behavior. It is here where the way opens to a new level in one’s being. Following from this basis, the Liminal Village project extends the concept of liminality and applies it within a contemporary multimedia setting. As a gateway to a new dimension in the human story, the Liminal Village is an interstitial locus of transformative art and culture amidst the festival’s layout. Catering to the mind, body and spirit, it is a type of neo-shamanic medicine space providing a supportive, multi-faceted context in which to understand and integrate the perennial visionary experience. Inspired by Fraser Clark’s Shamanarchy Experiments of the mid-90’s underground club Megatripolis, the Liminal Village works with both the archaic and the novel, reaching far into the past and simultaneously forward into the future in an attempt to chart a course through the present. In these times of unprecedented planetary chaos, the Liminal Village, in anticipation of an immanent paradigm shift, has taken a collaborative and cooperative approach for re-orienting the collective compass towards a more harmonious and sustainable future. Proposing evolution over revolution, this open-source space was designed with several access points to enhance its transformative potential. In 2004 the Liminal Village built upon the framework established in 2002 and took shape as a sentient environment for a global community on the edge of an increasingly unfamiliar world. Seeking to implement a holistic educational and enlivening program, the Liminal Village created an interactive, multi-sensory zone for personal reflection, cultural realignment and spiritual recalibration. Central to the grounds were the main workshop/presentation venue and the visionary art gallery. The periphery consisted of a healing area, the MAPS CosmiKiva Sanctuary and a Planetary Art Network dome. Hosting several thousand visitors throughout the 4 day program, the Liminal Village held space for several ritual activities including geomantic setting of the space, an earth medicine/crystal burial ceremony, and a variety of workshops in such areas as shamanic drumming/totem animal visioning; ritual theatre; ecstatic dance; meditation; visionary art; mask making; and yoga. Laying the foundation for a non-linear, open-ended ritual space, many of initial ideas explored this year would come to be developed for the next incarnation of the project 2 years later. p.82 In 2006 the Liminal Village expanded upon the sentient environment concept and increased the collaborative dynamic by several degrees from the previous year. Drawing on central themes of sustainability, contemporary spirituality and emergent mythology, the project this year was the largest and most comprehensive installation to date. Built on the direct input from well over 100 people representing over 20 different countries, it became an potent epicenter of intercultural exchange. Over the course of the festival, the main venue - a stunning 400 square meter bamboo temple of Balinese design - hosted 36 skill-building daily workshops, 8 evening presentations and a full program of eye-opening films and documentaries each night. Dubbed the ‘Omniplex’, this expansive solar and wind powered structure was aligned harmonically within the festival grounds according to feng shui principles and was grounded via crystal grid work. In turn, it provided an inspiring place of refuge from the intensity of the festival vortex. Featuring a spectacular wooden carving of the mythical entity Garuda, several ornately woven carpets from Turkey, and intergalactic decor by Xavi, the Omniplex came to life with an opening prayer and ceremony lead by the visiting group of Balinese artisan-builders. Assuming the dimensions of a planetary temple for many different cultures and traditions, it also had the honor of hosting a special presentation by the Shipibo curandero/vegetalista Guillermo Arevalo. Known popularly via Jan Kounen’s film ‘Renegade’ but more importantly through his shamanic work, Guillermo joined us directly from the Peruvian Amazon to share his insights and experiences as a traditional ayahuasquero. Offering an icaro of blessing to the spirits of the land his presence brought an old-world magic to the entire festival. Working the intention of creating a sacred space within the festival layout, each component of the Liminal Village contained an inherent metaphysical underpinning which worked synergistically with the others to amplify the overall resonance of the zone. The Solar Healing Matrix, built on sacred geometrical proportions, was a hands-on sanctuary which brought together an international team of over 25 certified therapists providing treatments of several rejuvenating modalities. Adjacent to this elegant structure, the Inner Visions Gallery contained an extensive exhibit of over 50 pieces of visionary art on display from around the world. Accessed via the DiMethyl p.83 Temple entrance portal, the octagonal gallery was arranged around a central obelisk installation designed and constructed by Carey Thompson (above). Towering above the gallery tents it was a kind of psycho-cosmic device using art and architechture for transmitting a higher vibration of universal creative energy. Connecting these two zones with the Omniplex, the Temple Gardens were an interactive series of pathways, gardens and land art installations which brought together Zen-style gardening with practical permaculture techniques. Complete with a pond, solar powered fountain, tri-lingual signs and over 50 types of plants, trees and shrubs, the Temple Gardens illustrated the relationship between nature and culture while demonstrating an integrated, ground-level approach to growing food, conserving resources and cycling energy. With a focus on the edges where multimedia becomes metamedia, the Liminal Village is an experiential immersion in a realm of possibility. Seeking to actualize the evolutionary potential within the global trance network, it has endeavored to gather those who share a common vision for the future. Choosing magic over politics, the aim has been on building community with others of like mind and heart around the world in an attempt to reconnect ourselves at a more fundamental level. p.84 By providing a number of perspectives from which to look out upon the changing world, the Liminal Village sets up a collaborative space for a confluence of ideas and techniques relevant a new kind of social paradigm. In an increasingly mediated and disconnected environment, the Liminal Village utilizes expanded states of consciousness as an adaptive strategy for plugging back into the Gaian matrix and catalyzing a shift into the next phase of our collective evolution. Both the Boom Festival and, to a lesser extent the Liminal Village, are a manifestation of a world-wide network of creative people and organizations working cooperatively towards a new planetary culture. As a shimmering node in the net, the Boom has been a mystical interstitial zone for a wired community to link up and directly participate in a transformative convergence of mythic proportions. By implementing an open-source strategy the Boom Festival, like many other gatherings of its kind, have been portals revealing the edge of one world and the beginning of the next. Adopting an ‘act global - think local’ approach it encourages its participants to return home to continue the inspired trajectory of creating conscious community within their respective locales. Currently in the planning stages for summer 2008, the Boom Festival is building upon the overwhelmingly positive results of last year. Stay tuned for the 10 year Boom Festival book and accompanying DVD of Boom ‘06. Since 2002 the list of previous presenters in this project has grown to include; Alex Grey, Erik Davis, Jon Hanna, Zoe 7, Wilbert Alix, Charles Hayes, Robert Venosa, Martina Hoffmann, Dr. Luis Eduardo Luna, Jenny Pell, Guillermo Arevalo Graham Hancock, Daniel Pinchbeck, Mark Heley and Crystal and Spore. Over the years the Liminal Village art gallery has featured the work of the following artists; Luke Brown Andy Thomas (Android) Robert Venosa Martina Hoffmann Vibrata Chromodoris Tina Zimmermann Xavi Carey Thompson For more info visit www.boomfestival.org Cover art for Liminal Village Booklet ‘Pathways’ featuring art by Andy Thomas aka Backround art for this article was designed by Sijay James and Marisa Scirocco using art from Luke Brown, Martina Hoffmann and Robert Venosa.. Founder of Invisible Productions Naasko has produced the Liminal Village and Dynamic Mythologies Tent at the Boom Festival in Portugal since 2002. Working collaboratively with several visionaries over the years he has been on core production teams at many events and festivals along the West Coast and internationally. Currently living in the mountains of BC he is a long time DJ, A&R for Native State Records and label manager for Interchill Records. For more info contact: [email protected] p.85 In this article I explore the techniques of psychedelic psychotherapy as it was practiced in the United States and Europe in the 1950’s, 1960’s, and early 1970’s, and as described by Stanislav Grof and Myron Stoloroff, two pioneers of psychedelic psychotherapy research. BASIC PRINCIPLES Stanislav Grof described psychedelics as “unspecific amplifiers” of the human psyche, as substances which bring to the surface or amplify unconscious processes of the mind. The strategy of psychedelic therapy is for the therapy client to allow unconscious material to emerge, and to fully experience it until there is a breakthrough and release. Unconscious material can be blissful or terrifying or anywhere in between. To best facilitate the emergence, engagement and integration of this material, it is important for the client to feel safe and supported. The keys to establishing safety and support are “SET and SETTING”. “Set” is the inner landscape one brings to a psychedelic session. It includes the client’s psychological background and mental health, spiritual orientation, preconceived notions, expectations, how much work one has done on oneself, and the intention one brings to the work. “Setting” refers to the physical environment in which the therapeutic session is held – the beauty, comfort, cleanliness of the place, the people who will be attending to the client during the journey, the music that is used, etc. If psychedelics are unspecific amplifiers of unconscious mental and emotional processes, then the therapeutic potential of the experience depends strongly on the “Set and Setting” – the “container” for the experience. The container of “Set and Setting” provides the safety to call forth and engage unconscious material. Psychedelic therapy consists of three separate parts – preparation, experience and integration. p.86 PREPARATION According to Grof, the preparation involves a series of interviews between therapist and client. In the interviews, they discuss whatever issues the client wishes to work with in the session. Importantly, the interviews also allow the therapist to describe to the client the nature of the experience, the types of experiences that might come up, and the general strategy for working with them: keeping the attention focused internally, and allowing the experiences to emerge, intensify and to reach a breakthrough or release point. The client is encouraged to let go and surrender into whatever material emerges. The interviews also allow the therapist and client to develop trust and a good rapport – essential to establishing the safety that is so important on the journey. The preparation period is also a time for the therapist and client to make a “contract” for the session. The contract ensures the integrity of the process and the safety of both the therapist and client. It defines the therapist’s role as “sitter” and establishes what the client wants and doesn’t want from the sitter during the session. Before the session begins, the client can perform ritual practices to help engender trust in her deepest self and higher power. Myron Stoloroff, in his book The Secret Chief Revealed, recounts that the late Leo Zeff, an underground psychedelic therapist, had his clients recite the following prayer before the session: Lord, I know not what I ought to ask of thee; Thou only knowest what I need; Thou lovest me better than I know how to love myself. O father, give to thy child that which he himself knows not how to ask. I dare not ask either for crosses or for consolations; I simply present myself before thee, I open my heart to thee. Behold my needs which I know not myself; see and do according to thy tender mercy. Smite, or heal; depress me or raise me up; I adore all thy purposes without knowing them; I am silent; I offer myself in sacrifice; I yield myself to thee: I would have no other desire than to accomplish thy will. Teach me to pray. Pray thyself in me. AMEN – Francois de Salignac Fenelon p.87 EXPERIENCE The second part of the psychedelic therapy session is the psychedelic experience itself. The most important principal for the experience is that the client’s attention be turned inward while the medicine’s effect is strongest. Stan Grof has said, “Internalized sessions are generally much more profound and less confusing; they are conducive to a better integration of the experience. The basic safety rule for psychedelic sessions is that all of the material which has been released from the unconscious has to be faced, fully experienced, and integrated. This condition is not met in externalized sessions, where various sensory distractions interfere with the awareness of the inner process.” Internalized focus also helps the client “own” the material that arises in the session. When material emerges from the psyche, the client should recognize the material as her own. An outward focus during a session makes it likely that, as material arises, the client will project it and attribute it to “others” in the immediate environment, thus potentially making the material more difficult to work with. The facility for the session should be “comfortable, well appointed, quiet, and free from distractions,” says Stoloroff in his excellent article, A Protocol for a Sacramental Service. It should be tastefully decorated, with beautiful art objects. Grof also emphasizes that the client should work in an environment where she has “unlimited full freedom of expression.” There should be a high quality music system. Finally, there should be rest rooms easily accessible, tissues nearby, and blankets, pillows and drinking water at hand. During the session the client lies down, wears eyeshades, and listens to music. This internalized part of the session typically lasts until the effects of the medicine have passed their peak and begin to subside. All psychedelic therapy involves the use of a sitter. The sitter is usually the therapist, but doesn’t have to be. The sitter is at the service of the client, but is otherwise as unobtrusive as possible. The sitter’s role is mostly passive. His job is to ensure the safety and comfort of the client. p.88 Early in the session the sitter periodically checks in with the client on the pharmacological action of the medicine. After that, his job is to be present and attentive and be available if the client needs a tissue, some water, or to be escorted to the rest room. If the client is moving around vigorously in the session, the sitter makes sure the space around is clear of obstructions. Verbal interaction is kept to a minimum. The sitter does not interfere except at the request of the client, unless there is a safety issue. With a sitter, the client can let go fully into her experience. INTEGRATION When the client feels a sense of completion for the session and is ready to return to the outer world again, the therapist/sitter helps her re-orient herself. This is the beginning of the integration phase of the session. At this point, various integrative activities are introduced. Artistic or creative expression is used here. The client can draw, paint, do collage, sculpt, play music or dance. Journaling, poetry writing or quiet reading from the great spiritual traditions of the world might occur at this time. The goal of these activities is to help the client ground herself after the session and to translate the experiences from nonordinary reality into the world of ordinary reality and thus allow the insights gained to last and become part of the client’s everyday life. Integrative activities do not end after the session. Typically, several follow-up sessions between therapist and client are scheduled. In these sessions, strategies for carrying insights and breakthroughs into the client’s day-to-day life are discussed. Most therapists consider the integrative phase of the work to be the most important. p.89 It has been observed that modern western culture lacks rituals aimed at invoking the wisdom of nonordinary reality. Psychedelic therapy, as developed between the 1950’s and early 1970’s developed protocols of “set and setting” to facilitate safe and productive healing journeys into the unknown recesses of the psyche. These protocols were the beginnings of systems of modern western rituals and they were still evolving when psychedelic therapy was unfortunately halted due to legal prohibitions in the early 1970’s. Perhaps we can hope as psychedelic research resumes again, that our society, so devoid of the meaningful rituals for exploring consciousness and healing in nonordinary states that have existed throughout history in many cultures, will again make progress towards evolving such rituals. ©2007 by Kevin Sachs, Ph.D. All rights reserved. Kevin Sachs, Ph.D. teaches accounting at Hofstra University. He apprentices with a shamanic practitioner and is currently enrolled in Grof Transpersonal Training to certify as a Holotropic Breathwork™ practitioner. He calls himself “econoshamanic” to honor the two sides of his life – the rational accountant and the shaman – and to hold space for their integration. He is married and has three incredible feline teachers. REFERENCES: Bache, Christopher, Dark Night, Early Dawn, State University of New York Press, 2000. Grof, Stanislav, The Adventure of Self-Discovery, State University of New York Press, 1988 Grof, Stanislav, LSD Psychotherapy, MAPS, 2001 Stoloroff, Myron, “A Protocol for a Sacramental Service,” in Roberts, T.B. (ed.), Psychoactive Sacramentals: Essays on Entheogens and Religion, Council on Spiritual Practices, 2001. Stoloroff, Myron, The Secret Chief Revealed, MAPS, 2004 p.90 Bryan de Flores Intergalactic Accelerators Art is said to be the souls attempt to express the mysteries of life, awakening us to an eternal reality beyond our circumscribed world. It is an agent of change for the artist and for those who are touched by his work. On December 4th 1996, Bryan de Flores experienced a dramatic shift in consciousness resulting in a change of lifestyle, work and location. His destiny and spiritual purpose was revealed and artistic talents from previous interplanetary incarnations were activated. He was guided to move from Southern California to Sedona, Arizona to begin his life’s work illustrating images from the divine Blueprint. These extraordinary multidimensional images are accelerators to prepare humanity for the prophesied shift into a 7th Golden Age, the Age of Aquarius. His beautiful drawings contain ancient and interplanetary scripts and symbols, which are universal and personal keys to forgotten memories and advanced knowledge. Bryan has created thousands of transformational templates whose content and style continually evolve as his consciousness expands. He has become what his art evokes. His expressed commitment is to dissolve limitations and to awaken and inspire those souls who are to be healers, teachers and wayshowers, for the next octave of our existence. He now travels extensively and transmits a body of teachings based on ancient Mystery School practices for the evolution of the soul and the physical manifestation of Christ Consciousness. He states, “ Our planet and all who inhabit it are destined to ascend into the 5th dimension of time/space and create a 7th Golden Age as our global reality.” p.91 These images are created using the new interdimensional ‘acceleration’ drawing technology. The originals are all hand-drawn on 19 x 25” paper using Prismacolor pencils and metallic markers. These channeled art pieces or ‘accelerators’ are created within minutes and are energetically infused with many levels of information and etheric templates. The ‘accelerators’ operate at subtle levels of consciousness, reactivating the “empowerment program’ of our true nature while dissolving old patterns and thought-forms no longer in alignment with our highest good. The titles and descriptions are guidelines to assist in attuning to the energies of each image. However, they are only one small interpretation of these multi-layered drawings. The accelerators can be used in a variety of ways and will adapt and synchronize to your intent and vibration. The images will begin transmitting their frequencies as soon as they are in your energy field. Each accelerator you add to your collection will diversify and upgrade your frequency. I AM GOD! Be still and know that I am God! activates the power of awakening as a co-creator and galactic human. It contains the Guardian Master Codes of creation, assisting in the manifestation of ones destiny within the Divine Plan, promotes focus and clarity, giving one a sense of purpose and direction in life. Other multidimensional aspects of this image can be accessed through toning and by placing crystals on the images lower key symbols, connected to the Delphic Oracles and Elysium. p.92 p.93 PHYSICAL AKASHIC RECORD BUILDING MISSION ACCOMPLISHED! Linked to Sirius and the Rainbow Warriors, this image was made manifest through millions of spirals of high-frequency energy emanating from the 2nd octave of the 5th dimension; it holds the new planetary grid-work for Earth’s final ascension activation and new cosmic orientation; this Akashic Record building contains the blueprints for all of Earth’s new Golden Cities and sacred structures, as well as the new 5D grid systems. Connected to the Celestial Hierarchy and the Ashtar Command; allows one to telepathically ‘tap’ the planetary grid and retrieve information regarding their past lives and integrate new options relating to their current mission; represents a completed cycle, the Alpha and the Omega; holds the codes which will trigger the etheric reconstruction of Earth for the 7th Golden Age; activates cellularmemory of rebirth and the truth of Ascension! lightquest-intl.com p.94 Art from Dreams: Ann McCoy Black Madonna of Einsiedeln, 1993, 9 x 14 feet, pencil on paper on canvas. p.95 p.96 Lunar Birth, 2001, 9 x 14 feet, colored pencils, graphite, and watercolor, with iridescent acrylic paint, on photographic paper mounted on canvas. A recent book by art historian James Elkins entitled The Strange Place of Religion in Contemporary Art groups the work of Ann McCoy and Alex Grey under the heading: New Religious Movements. Both Grey and McCoy are considered by Elkins to be “outsider artists” whose work embraces spirituality sincerely rather than cynically, an attitude often considered taboo in today’s art world. McCoy stated in a letter to James Elkins, “My whole life I thought the purpose of life was the journey of the soul and that to map this journey was one of the purposes of art.” Ann McCoy has studied comparative religion and alchemy for over twenty-five years. In Zurich, she worked with C.G. Jung’s heir Dr. C.A. Meier doing analysis and studies in alchemy. Her father’s profession as a chemist influenced many childhood dreams, which represented alchemical themes. In Jungian analysis, Ann learned alchemical symbolism related to the incarnation of spirit into matter, and the transformation of the soul. Ann’s artwork comes directly from her dreams, which she records, later grouping the images into her giant complex color pencil drawings. In an organic and synchronistic process, a drawing may change over time due to other dreams. An alchemical worldview involving the integration of opposites, considered by the artist to be more relevant in our age than ever, has given rise to her written modern alchemical fairy tales. At MicroCoSM Gallery, Ann McCoy will exhibit her great alchemical work called “The Rubedo.” McCoy describes the Rubedo as “the red process,” where blood, associated with spirit, returns to art. Ann clarifies, “When you drink the blood of Christ, you drink the spirit of Christ.” It is the artist’s intention to reclaim the passion that “has been drained from religion in our rational era.” www.annmccoy.com p.98 Through ecstatic dance and enthralling rhythms, we are able to bypass the limitations of the ego and connect to the heart; spirit in motion! By engaging the body through movement, entering with ritual intention, we dance our power, unlock & liberate our dreams into action! w w w. s h a m a n i c j o u r n e y s . c o m Descended from a long line of spiritual healers, Parashakti moved from her native Jerusalem to the United States to pursue her life long exploration of the healing art of Dance and Ritual. Parashakti, a certified yoga instructor had the honor of receiving teachings from Swami Sachidananda, founder of Integral Yoga, while she lived at their ashram in NYC and Virginia. Her yogic lifestyle led her to the study of Native American healing arts with the Shoshone and Lakota Indians. Inspired by the wisdom of her elders and her native roots, she developed a unique form of movement called the Dance of Liberation. Through the integration of dance, yoga, ritual, shamanic journeying, hands on healing, live drumming, global music, Dance of Liberation heals and frees physical, mental, emotional and spiritual blockages. She has worked with over 10,000 dancers from around the world and leads workshops, trainings and retreats at the world’s leading holistic centers. In her private practice as a Shamanic practitioner, Parashakti has developed her own healing modalities that assist clients with various emotional issues and life threatening diseases. PARASHAKTI DANCE OF LIBERATION FACILITATOR SHAMANIC HEALING PRACTITIONER dreamthebiggestdream.com www.Parashakti.org www.Jivamuktiyoga.com Private Shamanic Healings: 646.415.7553 THE VISIONARY ACCOUNTANT, LLC Accounting, financial and management services for non-profits, artists, & healing professionals www.sacredlight.to Kevin D. Sachs, Ph.D. www.braindrops.com 718-751-6181 [email protected] www.lightscience.ca www.elfintome.com www.zyzzazonemusic.com The Ritual and Mystery Schools edition of CoSM Journal has been an initiation for us. As we report, design and edit these stories, we are infused with the wisdom and knowledge shared with us by each participant and writer. This issue is a reflection of our experiences of the past year and we are excited to share all that has occurred and is occurring with the growing CoSM community. We are blessed to know so many incredible artists, healers, and conscious collaborators – and for those of you we have not met, we look forward to connecting. Thank you once again for reading CoSM Journal. Please continue to share your dreams and visions. See you next time! Eli Morgan & Marisa Scirocco [email protected] www.delisiart.com [email protected] 2007