Vessels Of Vision: The Gnostic Artist As Magician Of The Crossroads

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Six-fold Ma’atian Mind-by Kyle Fite (private collection)

Vessels Of Vision

The Gnostic Artist As Magician Of The Crossroads

By Kyle Fite

“My adepts stand upright; their head above the heavens, their feet below the hells.”

These words, taken from Aleister Crowley’s Liber Tzaddi, describe an exalted state of consciousness belonging to the Magician who performs his Art from a place between polarities, functioning as a type of bridge between the worlds. We find this theme exemplified in many great figures epitomizing the shamanic ideal. In Vudu, Papa Legbha is Lord of the Crossroads. Hermes, as patron of Alchemy, embodies the union of Sun and Moon, the Above and Below. Abraxas and Baphomet, familiar to the Gnostics and Templars, fuse the sundry elements and kingdoms of nature into an androgynous whole. Bisexual figures, such as Loki, and those who roam between the Realms, such as Odin, also typify this theme of bringing together forces generally compartmentalized-and contrasted-as opposites.

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Abraxas instructs young art student on how to “pull it all together”

The English Artist and Poet, William Blake, observed, in his Marriage of Heaven & Hell:

“Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence. From these contraries spring what the religious call Good & Evil. Good is the passive that obeys Reason. Evil is the active springing from Energy.

Good is Heaven. Evil is Hell.”

In Blake’s vision, these elements are to be wed, their “love-play” evoking the activity wherein movement from one extreme to the other turns to dynamic development and serves the growth principle underlying the rise and fall of human life on the planet. The vision is ultimately mystical and cosmic, bringing together the great polarities of temporality and eternality or Being and Non-Being.

It is the intent of this essay to examine how this recurring theme of polarity and unity relates to the Artist as Magician. The work of the Magical Artist is not simply to focus on some “arcane” subject matter for depiction but rather a process which allows him to create and bestow his work as a type of shaman. Both the creative act and resultant artistry function as gateways between the realms in that they evoke and partake of the fusion point which is the natural home of both magician and artist.

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William Blake knew how to “Break on through to the Other Side!”

To begin, we must ask: What, precisely, is “Magical” or “Occult Art?” Simple depiction of something we might regard as “magical” does not seem to warrant such a definition. This would be better understood as illustration whose subject happens to be something we regard as “arcane,” be it an archaic symbol culled from an old tome or figures shown engaging in ritualistic operations. These sorts of pictures adorn the cover of many popular books on magic and are often examples of generic illustration or graphic design. It requires neither understanding nor the active play of any occult energy to generate such images.

“Magical Art” should, by definition, partake of the quality or energy of “Magic.” It holds and radiates its own charge, something beyond the bounds of mere depiction. It is the difference between a pleasing sculpture and a fetish object in which it said that a spirit resides. The aesthetic of the latter becomes a vehicle for its indwelling force or intelligence.

Now, a firm and definitive demarcation between “Magical” and “Non-Magical” art is not entirely possible. Any attempt at doing so will crash and burn as quickly as the aesthetic conundrum as to what constitutes art itself. After a manner, all art, even the utilitarian illustrative work we mentioned above, partakes of some sort of “magical method.” But we do distinguish between such work and that art which translates the power and intelligence connected to a transcendent region of consciousness as a living verity. Therefore, we must assert and seek out certain qualities found in the generation of-and participation in-given works of art, qualities which satisfy and express the shamanic impulse and mystical need of the individual.

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The Art of Sean Woodward in which aesthetic content is put into ritual use 

We now need to establish what the magician is, what constitutes his “Magic.” As there is great variance in understanding these simple words, we wish to achieve some degree of clarity from which to proceed.

We find in the great magical figures alluded to above that element of “in-betweeness.” There is within these mythic personas an integrative network bridging the gap between areas of experience typically held at bay from one another. These gaps are established by the observation and reinforcement of contrast. Although this contrast is necessary for our world to maintain its existence, it remains a double-edged sword. On one hand, it provides consciousness with a field of operation whereby its unfoldment and evolution may occur. On the other, it forms the material prison of some Gnostic philosophies by subjecting limitless spirit to the limiting conditions of a dualistic universe functioning in space and time. The Artist as Magician steps outside of the confines of the latter description to serve the former.

Returning to Liber Tzaddi, Crowley wrote:

“I reveal unto you a great mystery. Ye stand between the abyss of height and the abyss of depth. In either awaits you a companion; and that Companion is yourself. Ye can have no other companion. Many have arisen, being wise. They have said ‘Seek out the glittering image in the place ever golden and unite yourselves with it.’ Many have arisen, being foolish. They have said ‘Stoop down unto the darkly splendid world and be wedded to that Blind Creature of the Slime. I who am beyond Wisdom and Folly, arise and say unto you: achieve both weddings! Unite yourselves with both! Beware, beware, I say, lest ye seek after the one and lose the other!”

Within these poetic verses we find the adept not only reconciling the worlds but achieving complete union with all forms of life, for “ye can have no other companion.”

We have here something of a triad. The above and below are united within the one consciousness. But the one consciousness is also united with both the above and below. We are not speaking solely of dissolving the opposites into unity but rather achieving the Gnosis of unity’s union with duality!

When this is understood, the magician may shift from zone to zone at will. Loki, a male giant, may become a female horse. In the Christian Mysteries, Spirit may be transmuted into physical substance via the Mass. In the realm of art, pictures and paintings may become gateways to realms beyond those of which their material elements are made.

Blake knew this and wrote of his own art:

“If the Spectator could Enter into these images in his Imagination approaching them on the Fiery Chariot of his Contemplative Thought, if he could Enter into Noah’s Rainbow or into his bosom or could make a Friend & Companion of one of these Images of wonder which always entreats him to leave mortal things as he must know then would he arise from his Grave, then would he meet the Lord in the Air & then he would be happy.”

If one may enter into such a work of art, it follows that its denizens may also enter into our own world! Furthermore, we are not simply dealing with entities as such but energies of which the art may serve as transmitter.

Michael Bertiaux, in his Voudon-Gnostic Workbook, elaborates on this theme of artist as magician in the paper entitled “What do we mean by the science of Gnostic physics?” He outlines 16 points which provide clarity and direction for the “Gnostic Artist” whose work is to embody the function of the magician. This paper would serve as a wonderful meditation and guide for any artist who is pursuing this approach to their work.

Bertiaux writes:

“The Gnostic artist is also a magician for he materializes thought forms in all that he does. These materializations are not always conscious, hence he is also a type of medium.”

This is a very important point as it indicates that the artist-magician is doing much more than representing esoteric concepts in visual forms. This would be a wholly intellectual endeavor and the Gnostic-artist is concerned with the formation of a vehicle through which actual energies may pass. The methods of Surrealism are implied in the latter portion of this statement.

Bertaiux continues:

“The Gnostic artist is also a magician when he allows the divine energy of creative and cosmic illumination to enter into his multi-dimensional consciousness and thus awaken the angels of their inspiration, which reside in the higher mind fields.”
Both the creation of the art and the experience of its content draw from these “higher mind fields” and it is this double action which constitutes the magical nature of the art.

Perhaps the most important statement in Bertiaux’s paper is this:

“Each work of art comes alive and lives according to the rules whereby he has brought it into existence… There exist certain spells for causing certain things to happen in each Gnostic universe. Each artist must know these if he is to be a Gnostic artist…The Gnostic artist is both a mystical magician and a magickal mystic because he experiences both the total form and total content of each and every universe which rises from his creativity as a work of art.”

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Artwork by Rev. Michael Bertiaux, uniting Worlds at the Crossroads

This connection between magic and mysticism is critical to the artist tapping the “higher mind fields” and then imbuing his work with its life. Hence, we began this essay by addressing the theme of the polarization and unity in the higher god-forms. These beings may all be considered Masters of the “Crossroads,” that is to say that metaspace in which magic and mysticism fuse into a single art.

The magician is first a mystic for he has apprehended the nature of the perceived universe. This is “Lila” or illusion. The notion of permanence is apparent only and seen to have no basis in the perpetually changing energy fields of life itself. Beyond this illusion is the Gnosis of the energy field in its fullness and totality. One experiences something of Cosmic Unity which is beyond the conditions determining the play of Lila in the perceived universe.

The question, then, becomes what to do with the illusory universe. Many mystics, having perceived the changing and temporal nature of the world, have sought refuge in the changeless principle. From Buddhism to Christian Gnosticism, there has been a retreat into the fullness which may be called everything from Nirvana to the Kingdom of Heaven.

The world, however, must have some basis, some origin or source whereby it comes into being. If the changeless principle is all pervasive it follows that the insubstantial and changing universe is one with it. Thus it is has been written that Samsara is Nirvana and “Earthly Desires are Enlightenment.”

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Despite an expected penchant for the exotic, Crowley would find fields of inspiration in the natural world as seen in this landscape

By dissolving the notion of a fundamental divide between unity and duality (which only creates a new duality), the magician is able to experience and bring eternity into time. Illusion is coeval with perception and perception is acted upon to initiate further change in the universe. This particular change, however, is not automatic and following the unconscious rhythms of nature. Instead, it emerges from the will and direction of the magician. This will and direction is liberated through the enlightenment which harmonizes the individual mind of the mage with the cosmic mind of which all seemingly isolated areas of consciousness are seen as part.

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We are able to see with more than the Human Eye

The states of Gnosis described above cannot be induced by the simple application of a specific one size fits all formula. Furthermore, even describing such a state stretches the capacity of language. Hence, Gnostic literature inevitably becomes poetic, moving towards the crossroads between the mind’s intellectual comprehension and the direct knowing of the deeper mind or heart. It is like the challenge of describing how to ride a bicycle-and then going on to give expressing to the thrill and experience of the same. Along the way, the intellectual understanding must melt and surrender to a type of feeling or intuiting which brings things into alignment.

Beyond the challenge of guiding one into such a state, there is a wonderful simplicity as the actual process clicks into place. One has no longer simply imagined an experience. One has experienced and known it. It is now infusing the consciousness. In the case of Gnosis, consciousness is transformed into a vehicle of superconsciousness. Dualities are seen in context of the Unity that sustains them as that same Unity is understood in its dualistic manifestations.
From this “Interzone,” we engage with our art. Perception is enhanced and forms are generated within this crucible.
For myself, the recognizable image is offset with abstraction and symbolic form. It is crucial that these forms be more than metaphor. They need to carry their own charge or life outside of the individual mind. Blake got at this when he emphasized that his work was not “allegory” but “Vision.”

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The Coinologist by Kyle Fite-The lifepulse of any theme may fuel form, transforming both

The symbols-or sigils-thus generated may begin with a definite thought or intention. As Crowley wrote: “Every intentional act is a magical act.” There is, however, the question of how successful or how powerful the magic or spell will be. At times, this intentionality rises from deeper levels within the psyche to impose its form or energy via automatic technique as we often see in the drawings of Austin Osman Spare.

In my own working method, the symbol or image, once projected and “objectified” on paper must then be vivified or “woken up.” Here the original idea or impetus dissolves into a wholly aesthetic embellishment of form.

The artist is now overriding the intellect. Salvador Dali once admonished artists to never think about painting while painting. As paradoxical as this may sound, it points us in the right direction. Only the artist-as magician-can bypass the confines of mental comprehension to establish himself as a bridge between the outward activity and the inward reality. Similarly, the British Magician, Kenneth Grant, offers these words: “It is immaterial whether or not the artist is consciously aware of the direction of his work. It may even be essential to its accomplishment that he is not aware, for an artist manifests his creative power (Shakti) only in his absence.” It is no surprise to find in Grant’s works a tremendous regard for the imagery of the surrealists.

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Dali’s work reminds us that LOOKING is LISTENING

Returning to the notion of the Shaman, we are not exclusively concerned with the creative process for the Gnostic-artist, crucial though it may be. Its reflex is a birth into the world whereby it rises into an independent life. To be strongly imbued with vision and power is to see it communicate to the minds of others, above and below the threshold of the conscious and reasoning mind. The artist is therefore opening gateways whereby human consciousness may ripple into a more expansive field of action. He is a type of evolutionary agent in time and space, forging links between areas of experience which, if held at bay, would otherwise gravitate towards stasis and stagnation.

Such breakthroughs necessitate destruction of old patterns. Hence, surrealism’s precursor was the Dada movement, which could be extraordinarily violent, blasphemous and wholly irrational. It was the breaking down of aesthetic limits and viewpoints in a grand sense, tearing the whole edifice down, spurred on by some inner intensity and vitality. From the ruins, surrealism moved of its own volition to the exploration of the psychological roots of image and form. This not only opened the gates to exploring Freudian themes but began to give rise to images generative of their own iconography. The heart of religion and magic was being excavated from its prison of dogma and returned to the cauldron of its birth.

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Ernst Fuchs, in whose “Spiritual Surrealism” the Sacred and Sensual are wed

Thus we find the Artist-Magician as an essential figure in the modern era, the shaman not entirely embraced by the tribe. Reason, repression and control still abound in the form of Archons who, equating change with destruction and having no awareness of life beyond their isolate form, wield massive weaponry against the unkillable spirit that pulses at the heart of Life. Without liberty or death, the Terra becomes a torture chamber of endless agonies for this spirit. Hence arise the Gnostic visions of a world-prison from which one must escape.

Escape, however, is not found by rejecting the world. Instead, the Artist-Magician makes use of the creative means at his disposal to enter more deeply into the situation, stirring up and ultimately liberating the Light which has been overshadowed, not by outward circumstances but an inward darkness. The Artist is ever involved in a dual process: he is pushing himself to see with ever widening degrees of vision and he is bringing into the world objects and images which resonate with this Vision-power latent in all human beings.

In his talk, On My Painting, the German Expressionist Max Beckmann expressed this thought:

“What is important to me in my work is the identity that is hidden behind so-called reality. I search for a bridge from the given present to the invisible, rather as a famous cabalist once said, ‘If you wish to grasp the invisible, penetrate as deeply as possible into the visible.’ ”

I read these words as a teenager and was baffled by them. Twenty years later, they have become vital to my personal path as both an artist and a spiritual being. Alongside the paper on Gnostic Physics by Michael Bertiaux, this short essay by Beckmann should also be read in its entirety. It is one of the most profound, passionate and poignant statement a Gnostic-Artist might encounter. For two decades, Beckmann’s words have followed me, pushing me more deeply into their meaning. It is not an issue of familiarity or intellectual comprehension. Rather, one must know and live the spirit in this brief essay. It does not lead to some single point of “enlightenment” but opens a door into a hallway leading to further doors, continuing points of breakthrough, initiation and growth.

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The Art of Max Beckmann, mingling the Mundane and Mythic in the alchemy of composition

As stated above, the Gnostic-Artist is not one who simply expands his own understanding and personal power as an independent being. His growing awareness of the unity of all beings, human and otherwise, infuses an ongoing creative work which is given to the human race as a type of gift. He, too, partakes of this activity. As Blake wrote (again, in his Marriage Of Heaven And Hell):

“The worship of God is, Honouring his gifts in other men each according to his genius, and loving the greatest men best. Those who envy or calumniate great men hate God, for there is no other God.”

Human society is in grave need of this shamanic activity especially in its present state of turbulence and uncertainty. I was once going through a difficult period in my life and came across a quote at my local library. I regret that I do not recall the author but the gist was this: When you are lost, go back to the time when you knew what you were doing and begin again there. The true artist is perpetually engaged in this process and his return to the “time of knowing” is transpersonal. As an artist, I know this to be true. I have created works that I have come to regard highly and works that I turn away from in time. Yet “time tries truth” and I find that particular works were simply midwifed by my hand. They arose from some resonance with the larger vision and therefore they can speak, independent of myself, to others on that same level. This is not a cause for self-regard but self-examination. A gateway was passed, a threshold crossed. Initiation is endless and one must always be a moving towards the next breakthrough. On one hand, we may have achieved a “mastery” of the level behind us. This mastery, however, propels us into the challenges of what lies ahead. We rely on the sum of our acquired wisdom and skill to navigate the difficulties at hand. In doing so, we look back to where success arose. It speaks to us from our past and offers guidance into the future.

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Paul Klee-A True Gnostic Artist, he always knew what he was doing!

The Gnostic-Artist has been with us since time immemorial. The most ancient of artifacts and markings on the walls of caves show this. Image has been connected to experience and thereby amplified our adventure in the world. The subconscious mind does not distinguish between fact and fiction. It simply responds with attraction, repulsion or indifference. The conscious mind is overburdened with stimuli from an artificial environment, constructed to restrain those powers which initiate change. The whole scenario is one of love against fear with the great irony of fear’s agenda being so self-defeating. The woes it seeks to combat have been engendered from its own loins.

On the other hand we have the Magi. Millennia have seen the development of schools of thought, techniques of attainment, ways of walking the winding way. As these inventions ossify, the artist arises to follow impulse and intuition. His impetus is not an idea but an inspiration. He will be Dada to Convention and Surrealism to Dogma. Every member of this Cultus, whether he knows himself as such or not, is busy fashioning windows and gates into the Otherworld. Like Jacob’s ladder, powers from Beyond pass to and fro via these turnstiles Matter is becoming Spirit and Spirit is becoming Matter. These sublime transformations are not unlike William Blake’s view towards “a world in a grain of sand” and “Heaven in a wild flower.” Passing through these Gates is not an arduous task. It is simply a shifting of inner vision. As the New World comes into focus, we discover a proliferation of possibilities and a Vessel of Endless Vision to those who would drink from the same.

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Baptism in the Holy Ghost by Kyle Fite (private collection)

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Space Buddhaa Mandala Access Points

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After several recent posts on our Facebook site, Spacebuddhaa.com has received numerous inquiries as to future projects and, more specifically, items which “carry a charge” and deliver “good mojo.” We are presently at work on a Starter Kit for two such Power Objects (Space Buddhaa Mandala Access Points or “M.A.P.s”). The idea behind this is to offer much more than an item which simply ends up as an acquisition. No matter how much energy and intent is put into an object, there must be an Interface with it whereby transmission can occur. Therefore, more than just the item itself needs to be delivered.

Some people want to know exactly what went into a item they are purchasing. Was it blessed? Run through ritual? And WHO has that sparkly magical power to make an object “hot?” Or is it just powerful in and of itself, collected by our hands and ready to arrive preloaded in your mailbox?

What folks are looking for is the sales-pitch. Justification for their mystification. Well, we can certainly write some good copy and pump it out as an advertisement. But this sidesteps the essential element of active engagement on part of the individual. With this in mind, we are preparing our first offering for 2015 as both art object and vehicle for unfolding Spirit Contact, a type of Starter Pack for a field of mystical exploration within the Spiritism of the Space Buddhaa Continuum.

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Each pack will contain it’s object, a sculptural piece to be used in conjunction with it and full instruction book with limited edition art plate. In essence, we are developing a means for anyone to link into a highly charged Network of Cooperative Intelligence resonating with Degrees of Transpersonal Consciousness emanating from the Space Buddhaa Mandala.

If this sounds overly complex, it’s not and we will be preparing this material as an accessible vehicle for anyone wishing to devote a small bit of time to growing out of the Personality Program.

In the words of SpaceBuddhaa:

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The theme of the M.A.P. will continue in upcoming posts.

-Hoodoo Pilot, Space Buddhaa Time Rep

SPACEBUDDHAA MISSION-PART TWO: “WATCH YOUR PARKING METERS”

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“What drives you on?”

This is a question which arose this evening at Space Buddhaa HQ which we are now regarding as Space Buddhaa Mission 1, after the Spanish Missions which served as centers of Power and Proselytizing. Our Mission, however, entails neither one of these things in the common understanding of the words.

Whereas the old Missions sought to subjugate the people to a particular doctrine or allegiance wherein Control might be more firmly established and effectively managed, Space Buddhaa Mission exists to transform its Environment through cooperation in the Self-Liberation of the Inward Star within each Being.

Those who engage in this Art become Space Buddhaa Reps.

We want to be clear about what this means. No one receives a membership card in the mail along with a quarterly newsletter. Organizational affiliation is NOT what Space Buddhaa is about. The term “Rep” does not imply “Representative” (as in “Now YOU can sell our products, promote our shtick etc”) but “Representation.”

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“We’re all One.” A warm, fuzzy thought…until we actually EXPERIENCE it!

The Space Buddhaa Rep (or SBR) is a Representation of Space Buddhaa through Self-Directed Form in Time. This link between Space Buddhaa and manifest movement extends beyond even the Name Itself. In fact, this type of Path will readily evoke New Names for THE Consciousness back of which Form and Void dance in Continuum. We find the “Cult of One” preferrable to any group in that it pushes the individual directly into Reality Itself on every level. There is a heavy degree of personal responsibility attendant to this Path and it has been our experience that the average human being will do almost anything to avoid this. This includes embracing the expressed notion of taking personal responsibility. Layer after layer of sophisticated self-deception abounds.

The Great Philosopher Wittgenstein said that the most difficult thing for a human being to do was NOT DECEIVE THEMSELVES. Reading this, we all would like to think “Certainly, that’s not ME! I know what’s going on!”

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Everyone wanted to play…until the DOLL wanted to play with THEM! 

Despite this knee-jerk reaction, we all are up against a wall, what can be called “The Next Step.” Again, in our experience, this step tends to be something small and simple, easily enough expressed in words. But it comes with a cost, a type of loss. This evokes pain and discomfort.

Of course, there is plenty of discomfort to be passed out by any School, Church, Teaching and so on. The pain of our lower back, for example, as we sit on a cushion and attempt to meditate. But we also feel good about that pain. We’re suffering toward some “higher end” and so we give ourselves a pat on the back, even if we humbly bow to the saffron robe who seemed unperturbed by two hours in an unflinching lotus posture.

There is a different kind of pain which will keep us in thumbscrews to avoid it.

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In the various “Worlds” described by different Buddhist Schools, we encounter the “Asura Realm,” the “Realm of Jealous Gods.” This is one of the most dangerous and insidious zones to occupy as it will readily replicate the forms of Higher Realms to keep the Human Heart trapped. Behind this projection of form are parasitic entities who feed off the high levels of energy generated in this Realm. These all flow upward, as it were, from the “Lower Realms” of Hell, Animality and so forth, “dressed up” in a manner making incisive identifcation extraordinarily difficult, if not impossible. “Humility,” for example, masks Pride which is masking Fear as it produces a refined form of personal aggression. Outward behavior and the Inward State do not match but they are related in a complex schematic.

There is something ELSE which keeps this bit of “wiring” plugged into the wall.

This is the horrifying fear of loss of self-identification on the grid.

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“Mind Forg’d Manacles.” In general, they SUCK. They also make the World Go Round. 

Have you ever met anyone who was excommunicated? Kicked out? I’m not talking about the “raised Catholic” kid who never was “really” into the Church and gets an obligatory boot for being a gay atheist. I’m talking about the person who IDENTIFIES, the person who is IN. There is a heavy emotional and psychological agony for this individual. Oftentimes, they will seek after some new alignment like a person cast out of one lifeboat and paddling madly at another. Anything to keep from sinking into those waters. I personally know of MANY who have entered a new group, a new way of self-identifying, and proclaimed that they had, at last, found their “Home.”

It’s not the group here that is important. It’s the notion of HOME. Of having something to provide a context for a lost soul who doesn’t have the self-knowledge and love to operate without it.

Many years ago, I was in correspondence with a fellow occultist who was devising his own Magical Order. He was growing increasingly disenchanted with a certain large organization of which he was a member and looking for something MORE. He sent me his structure of initiation and it was wonderful. Rituals, work, details up the wazoo. But here’s the thing: once a person finally reaches the TOP, he was kicked out. We’re talking knocked to the curb with no chance of ever coming back.

This was brilliant. And, I might add, really not the formula for any kind of self-perpetuating club.

But he GOT IT.

The whole GOAL of Initiatory Systems is to GET TO THE TOP. And WHY? What DRIVES US ON???

Do I really want to be some Sovereign Grand Inspector Inquisitor Commander-in-Chief Royal Knight and Sublime Prince of Too Sexy for my Sash Secrets with five thousand numbers and acronyms signed after my myriad of Magical Names?

Well, Hell to the Yeah, Brother! Especially when there’s titillating Tantra, book contracts and the amazing power to allude with Authority (“Recognize!”).

But I’m not being entirely cynical here.

When I entered the Masonic Temple for my Entered Apprentice Degree, I was more full-on than words could describe. My Heart LONGED FOR the “Secrets of a Master Mason.” And, like a lot of passionate and sincere seekers, I was ready to crawl through hell and back for this imagined “Light” I might receive. I WANTED the hardcore real deal and, as you can guess, I imagined much more than would be delivered. I was ready for a knife to the chest, drawing blood. I expected to be physically buried in a coffin. Push me to all limits. I’ll GIVE IT!

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Why?

I wanted MORE.

I would later on feel as if I was standing outside my body when I served my Lodge as Worshipful Master in 2000. I didn’t ever WANT to be a big shot. I wanted…LIGHT.

With this in mind, I feel the hearts of so many who have laid themselves down before others in the hope of connecting with some Divine Truth, something MORE. I know people who have been abused and taken for a ride. They got dumped off on the side of the road when it was all done. Creepy Cons and Crapulous Christs.

Yes, I, also, learned the word “crapulous” from Crowley.

No one is passing out “Truth for Free.”

Except those who DO. And these you’ll find meeting in a Sanctuary overseen by a Janitor. If you don’t know what I’m talking about, read Hermann Hesse’s “Journey to the East.”

Spacebuddhaa.com is the Mission of Kyle and Jedrik in Spacetime. As a website, we will be offering a variety of artwork, objects and items. We stand by what we present. We want everyone who receives a parcel from us to enjoy what they’ve purchased. But we don’t “Sell Soul.” We generate material from what we ARE: a Cult of One. The value of such a Cultus is the freedom to give what we HAVE.

The real Space Buddhaa Reps will soon be calling themselves by other names, tapping a Well of Richness from Within. No one will get booted out of the “Space Buddhaa Ashram”-because it can never exist. Space Buddhaa is not Hinayana, Mahayana or Tantra…or even “Buddhist.” The whole notion of Buddha is that of a Divine Figure who is “awake,” beyond self-deception. This is not a Personage but a flowing Reality of Being which expresses Itself in Form. This is the nature of the “Star-Self” whose Light can never be extinguished.

The Mission serves the Mission.

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SPACEBUDDHAA-History & Mission Part One

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In the early 1990’s, Kyle Fite filled a sketchbook with various drawings, studies and notes revolving around comic book and illustration projects. A simple sketch found its way into those pages, entitled “Space Buddha.” It was just a scrawl, a little bit of sci-fi and, truth be told, Kyle didn’t really know much, if anything, about Buddhism. He just liked the idea of some meditation master floating in a space pod.

In 2012, Kyle found this old sketchbook and wrote to a fellow esotericist of a series of letters he had recently sent to an Occult Master:

“The content of those letters addresses Buddhism and my interest in several sections in the Voudon-Gnostic Workbook which deals with Buddhism and the Nemirion Race from the Orion Constellation (which I suggest are related). It’s funny-many many years ago in a sketch book from college, I drew a small image called “Space Buddha” with a seated figure in an egg-shaped pod. At the time, I knew nothing of LAM or Buddhism, really. This is no great drawing but I am finding increasingly that small and seemingly inconsequential things are sometimes more powerfully prescient with greater connectivity than our endeavors to do so consciously.”

Between the drawing and this communication, Kyle would, in fact, take a keen interest in Buddhist Practice, studying and practicing with two different organizations over the years, Tibetan and Japanese.

It would be during the “Japanese Years” that practice would open to a series of telepathic events linking to Aleister Crowley’s Book of the Law. However, Kyle’s previous “Thelemic Self-Identification” was giving way to a new field of experience, indicating an extraterrestrial source of communication. Turning to the works of Kenneth Grant, everything began flowing into the Vortex of LAM. This was followed by 15 months of practicing the LAM SERPENT SADHANA as written by Mr. Michael Staley.

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“Serpent Sadhana”-Linocut based on experience with Trans-Yuggothian Pyramid (cover artwork for for STARFIRE Vol. 2 No. 3)   

It was also during this general timeframe, that Kyle and several others formulated what might be deemed a “Micro Order” to investigate the ongoing stream of communication and exploration. Short lived, the Order was given it’s name by Kyle who relinquished his own “Motto” to bestow it upon the group. That Name was A-Sh-A and was understood to mean “The Fire which Burns Between Beginnings.”

The striking power of the Double A had already been well-lodged in Kyle’s mind (as with many others) who had read of a certain Secret Order in the works of Crowley.

The fascination with A.’. A.’. grew in lieu with its claims to have existed long before Crowley announced its activity to the World. This is the mystique of History. It was Voltaire who wrote that “History is a Pack of Tricks played by the Dead upon the Living.” Did this particular Occult Order really exist BEFORE Crowley or had he just slapped a bunch of mythic “credentials” on his new gig? This seems to be an old game (“Hello, Fama Fraternitatis!”).

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John the Con…Gettin’ It On.

Kyle would buy into many of these games, driven by desire to find the Secret Sanctuary kept clean and safe from this soiled world. Along the way, he would discover a book by a certain “Rosicrucian” who lived and died ere Crowley was born-and in this book was an allusion to secret Order known as…the A.A.”

Research met brick walls and, in the end, it was the Mystique which carried the most power. It wasn’t so much the OBJECT of the Quest but the Inner NEED to set about it.

A.A. lived. We are not speaking of the several groups using this name and carrying Crowley’s work forward. The power of the Letters themselves, which are symbols conveying IDEAS, was of value to adopt as a Magical Name. There was tremendous energy in this and it always evoked the passionate voice of Jaz Coleman as he sung:

“I want to be in a place of beginnings…not endings.”

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Jaz Coleman-One ounce of Honest Angst is worth a Pound of Pretend Piety

Kyle would later meet his partner who was, unbeknownst to him, already identifying herself as SPACEBUDDHAA.
All of the above anecdotes are a smattering of the MYRIAD events, people and connections which have colored the Voyage of Hoodoo Pilot (“The Artist formerly known as [insert one of a dozen Magical Names]”).

Knees have been bruised as many times as insight has been gained. The “Spiritual Path” is not a pretty one. After all, it’s a human affair-and people have a marvelous ability to disappoint. However, it was Crowley who observed that a magical diary filled with a record of errors was more valuable than a few furtive moments of “success.” This is Edison with all his light bulb failures. Kyle & Space have been down many dead ends and the maps we want to share are those which cut a Path through the snares. This is no “Word from on High” but rather (as Burroughs wrote) a “Word to the Wise Guy.”

What is happening now involves a double vortex, pouring in and spilling out, calling forth a new Tarot Structure and Sutra. Elements are magnetized, pushed into the Slipstream of Time and set on Fire. Dross and Slag bubble, movement vaporizes folly.

But there is “That Which Remains.” Incandescent Bones of a Form assembling itself in the Fiery Flesh of Time.
SpaceBuddhaa and Hoodoo Pilot were magnetized beyond geographic locale and through karmic fields of tremendous opposition to give birth to the Entity Space Hoodoo.

The Mission Statement of Space Hoodoo is very simple. Ala the Masonic Rite, the Inner Tekton has “long been in darkness and now seeks to be brought to LIGHT.” We are producing material meant to serve this purpose. There is an underlying picture or map upon which the Eternal Hunger of the Being in Time seeks Home. This Being in Time comes crippled into the World, readily sucked into the Tractor Beams projected by those who have understood Spiritual Need in the same way that the Kraft Corporation understands hunger.

It’s been said that one should never try to “wise up the marks.” It is also true that not all “marks” remain so. There is an inward hunger for Truth beyond all stop-points and we believe this Fire Between Beginnings is a Singular Flame burning in the Core of all Consciousness.

dharmakara

DHARMAKARA ENTERS THE LIGHT OF WORLD FREEDOM KING (Birth of Amida Butsu)-graphite on paper, 8 ½” by 11” (private collection)

On this evening, December 26th, 2014, Space Hoodoo dropped three consecrated Crystals into the middle of Kooteny Lake, British Columbia. This was-and is-a Magical Act, meant to serve as a vital Beacon System for the forth-going Work wherein we wish to serve as a Co-Creative Support System for Tektonia Emergent.

Just as there exists an interconnected crystalline network of energy and communication within the vicinity of our HQ, we have been working around the clock to assemble our material, ranging from writing to artwork to magical objects for use in contacting spaces beyond those ascertained by the senses, each offering connection to a vision wherein the Human and Cosmic may know themselves as One Thing. From this vision we will continue our history and it’s projection forward into all Timezones.

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“Buddha Smokes The Myo Pipe”-which holds much more than the Opium of the People

SPACE HOODOO COMIX # 2: “I WALKED WITH A ZOMBI”

SPACE HOODOO COMIX # 2 is now available.

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For those who missed the first issue, it’s probably useless to do a re-cap but we can certainly try:

Little Hoodoo, whose origins are unclear, explains the meaning of Life, the Universe and Everything on the first page. After this small matter is duly dealt with, his good pal, Little Space, challenges his succinct summary of Ontological Truth and makes him Toast. Little Hoodoo trips balls, blames the organic butter and ends up at The Mountains of Friggin’ Madness where he meets the author of the comic, Kyle Fite, who isn’t really there but occupying a Memory Chamber from a Future Time Zone. Little Hoodoo doesn’t quite grasp how he, too, can be in the Memory Chamber until Kyle explains that, as author of the comic, he has written Little Hoodoo into this Zone for an urgent purpose, revealing that Little Hoodoo is really his Higher Self in Past Form. Kyle needed Little Hoodoo to make contact with his Future Self to save them both from the Space Crabs who had already destroyed Kyle. This was all based on the logic that if Kyle was killed, his Higher Self would have no Lower Self to exist in relation to and, thus, Little Hoodoo, having no Future, could have no Past and would also cease to exist.

We then meet the “Girl with the Tramp Stamp,” to whom Little Space is past-tense Higher Self. She and Kyle meet in the Nexus Zone of Sam’s Samsaric Swill-Box, the Pub in Hell. Kyle proposes Marriage and an Alliance against “The Aliens.” She accepts.

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However, Eileen, the “Gossip at Ground Zero,” contacts her Boss who is the former Guru of LAM, the extraterrestrial who contacted Aleister Crowley in 1918. Lam uses his contact with Crowley to find a worthy Chela in Kenneth Grant but Kenneth makes the error of publishing Lam’s extradimensional location in the book Outside the Circles of Time. By the time this info is routed to Eileen’s Boss, it is the year 2233 and the Alien Crabs have just been sent back in time to 2014 to kill Kyle before he can meet the Girl with the Tramp Stamp. This is somehow related to the vendetta against the rebel Chela known as LAM and so the Boss, without recourse to his Crustacean Assassination Team, decides to handle the Hook-Up in Hell himself. Meanwhile, Kyle is eviscerated but the Crabs cannot find his heart which has been hidden in a canopic jar and brought to Little Space in the Time Zone where the story started.

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Or so it seems.

But…

S2

SPACE HOODOO # 2 continues our saga. In a nutshell, everything is fucked and it can only get worse before it gets better. That is, if it can get better AT ALL! But no matter how low we go, there remains some hope in hell.

There’s technology:

S3

Magic:

S4

And Libations:

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Our cast of characters may not like being stuck in this issue:

S1

But there’s always a way out of difficult situations.

Even if that means getting into worse ones.

SPACE HOODOO COMIX # 2 (“I WALKED WITH A ZOMBI”) guest-stars the Real Bardo Bear and the Fake Andrew W.K.

As with the previous issue, SH Comix #2 is printed in black and white with hand-signed color cover and two signed tipped in color plates along with Hoodoo Pilot affirmation card. Second issue with color prints being offered for $15 + post.

Contact us at kylefite@yahoo.com to get your copy.

Dethbot & The Cybernetic Legion of Love

dethbot2

Dethbot 1, Fresh from the Factory

“Dethbot 1,” as I’ll call him, was one of the earliest Coin Artflips created by son, Alex.

I had just begun to stumble into the world of Numismatics and was popping pennies into flips if I thought they might have any value beyond one cent.

I’m not sure I ever really found any “collectable copper.” That’s okay. In the end, discovering some rare “error coin” in my pants pocket wouldn’t be the point at all.

When learning how to properly label the flips I was sealing coins in, I began sharing my new interest with Alex. “Here’s where you write the name of the coin, here’s where you put the date etc.” Clearly, this process wasn’t exciting enough for a little boy and he filled the rest of the space on that little piece of cardboard…with Mario Brothers!

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The Italians knew the score…in 1964!

This was brilliant!

What followed would be a variety of explorations in how to dress up a flip.

The process continues to this day. I would join Alex in the artistry and try to look at how many ways a penny, in essence a CIRCLE placed dead-center in a SQUARE, could be fashioned into a new image.

As the process continued, I began to relate to the coins as magical objects, carrying their own unique “charge” and history. The adventures of each penny would require years of research in the Akashic Records but getting a full psychometric read wouldn’t be the point, either.

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Not all coins are well-met…and this one had the sad fate of finding a Nickel carrying the spirit of John Wilkes Booth

All the “experience” any given coin carried could be brought down into basic “compartments” within its energetic field. These compartments then mix to form a baseline energy. So if a coin is Harmony .50 + Discord .30 + Radiance .20, we find these qualities creating a unified picture which is the “personality” of the coin. The qualities may be directly related to esoteric astrology by reverse engineering the baseline energy through psychic exploration (which would give us, in the above equation, something along the lines of Venus .50 + Uranus .30 + Jupiter .20). Yes, this example is an overly simplified one and we could, theoretically, contruct an entire horoscope for a coin (fashioned from its karmic history and not its moment of mint). We’ll look at this in a future post as there are various tools which can be used to help analyze the content of any coin. There are other tools and methods to adjust, transform and direct the content. These include an astrological  “computer” and use of pendulum and dice.

The bottom line is that any given coin in circulation will arrive into our sphere of experience just like other people, repackaged with its own personality. And (again, just like people) we sometimes find that seeming chance encounters are really “Dates with Destiny.” We magnetize certain personas and our interactions therewith evoke action/reaction dynamics which may be of benefit to both parties’ growth, evolution and initiation.

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Some Bodhisattvas incarnated in Copper 

On my own Path (literally and physically), I happened to look down into the mud at a small lakeside town in Canada. What I found was an American Cent that had crossed the border. To be precise, it was Lincoln Wheat.

These were the biggest “score” I would typically find when sorting through rolls of coins looking for double dates and such. A penny worth “more than a penny.” My son would ask if he could “crack a roll” and I’d hand him a paper-wrapped tube of fifty. This kid would disappear upstairs and come back down with 3 Wheats in his hand. I swear he was teleporting them in from Planet Lincoln.

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“I’m giving this roll to the kid…because YOU suck!”  

The “Wheat at my Feet” felt like a powerful connection to his Joyful Magic as well as a link to his first flips where he could see more than just a “Circle in a Square.” So, I created “Dethbot 2” for him, a Coin of Protection and Power which has made its epic journey to get to its rightful owner and friend.

dethbot

“Dethbot 2, Emissary of the Cybernetic Legion of Love”

“Deathbot 2” doesn’t need a huge esoteric commentary, however. He was built in a Secret Laboratory by a highly intelligent Coin, programmed to march onward as a mobile Beacon of Joy.

Nor is he alone:

 “Robot” has often been used as a word of derision, directed at those who trundle through life without self-reflection or personal volition. I think the term needs to be taken back. A “Bot” is a Body with its own range of potential for action. The real issue lies with the Programmer. Better yet, it rests with the PILOT who directs the Drone. Body and Form are the means whereby we enter this World and do what we came here to do. Don’t blame the Bot when it’s the Driver who’s asleep at the Wheel.

And may All Drivers be one of the “Children” John and John sing about. The “Adults” once more failed the Mission. While they looked through a Loupe and discovered a “Double-Ear,” putting it up on eBay, a little boy got the “bigger picture.”

Instead of searching for Gold, he MADE IT!

Here’s to YOU doing the same thing!

-HP