Tag Archives: Aleister Crowley

BREAK A BUCK & TRY YOUR LUCK

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After one has found their Numisgnostic Contact Coin (also known as the “Portal Penny”) and begun acquiring some of the basic supplies needed for continued work (see our previous entry in this series), there is the issue of how to acquire further coins.

It’s true that Pennies will continually present themselves along the Path. They’ll be spied in both strange and commonplace spaces, handed out from cash registers with a fistfull of change and even gifted to you as others begin to learn of your new found “hobby.” To be continually active in a variety of Numisgnostic Operations, however, you’ll definitely want to increase the regular flow of coinage in your sphere of Work. Banks aren’t terribly surprised when coin-collecting customers “purchase” bulk rolls of any denomination and avid searchers will frequently walk in and out the doors with quite a bundle.

In my own experience, however, I began examining coins without the money to purchase-or time to sort through and exchange-a full “bank box.” If one is approaching this work with the primary goal of discovering some beyond rare mint-error (and retiring after the auction), it only makes sense to increase the “chance of winning” with this approach. In Numisgnosis, however, the searching is primarily concerned with Psychometric Finds and my own limits, with both funds and time, led to a more quick and concentrated approach, utilizing single rolls of Pennies. I would acquire these, not from banks, but cashiers (guaranteed to be a bit more baffled by the roll request than your local banker).

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Basically, if you have 50 cents, you can ask to swap it for a roll of Pennies almost anywhere. The gas station, grocery store, wherever. I’ve been told “no” but this is part of the voyage. Move on and hit up the next likely locale. If you’ve got a dollar, it will score you TWO rolls (100 coins) and, in context of Magickal and Psychometric Investigation, this is quite the pile!

Some will want to set up several “bins” at Home Base where acquired coins can be seperated. One bin can be for those swapped and another for those returned with change. A box can be set up for those found on the street and another for those gifted from others (and don’t be shy about asking friends and family to hang onto their pennies for you…most people won’t find the monetary value of a few cents of any concern but they WILL enjoy making someone else’s day with a little gift).

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Some Corp Members will keep an elaborate and detailed record to observe trends in the flow. This is, admittedly, tedious but worthwhile. By noting WHAT you acquire and through WHICH Channels, you begin to get a picture of the Invisible Forces working through your activity in Numisgnosis. For example, out of 10 rolls you’ve swapped out around town, you might notice that 1981 D cents dominate the total haul. You might only have found a single 1963 from a thousand.
One one hand, this situation may reflect the simple odds of finding any given coin in circulation. On the other, the Numisgnostic, working actively with the Contact Coin as a Beacon into the Magickal Universe, will find that certain coins will truly be attracted to him (or her)! They will travel long distances over periods of time to arrive in the Temple.
There is an interplay between Chance and Intention here-and this interplay is similar to how we find ourselves in this Spacetime Environment as Entities with Power to Effect Change and Decision Making Capacity interacting with a seemingly Objective World in which events occur outside of our Willing.

From this vantage point, our continuing work in this field may be likened to certain games which evoke Chance, Choice and Magick (again in the Crowleyan sense, Old Crow having stated that “Every Intentional Act is a Magickal Act”).

We’ll address some of these games down the line. They include Magic The Gathering which (along with many others like it) may be used as a Vehicle for Spiritual Growth. The point is: Numisgnosis, as we’ve discussed it thus far, will be profitably treated as such a Gamespace IF we regard Gaming as a Spiritual (and, perhaps more appropriately, SHAMANIC) Endeavor.

For the moment, don’t let a lack of funds foil the fun or stay the Way. Swap a buck and try your luck. Not unlike booster packs purchased for Magic, each roll of Lincolns is guaranteed to contain at least ONE “Rare.” If you don’t see it, sort ’em until you DO.

We’ll eventually get to the Mission where you swap two bits for a roll and find EVERY SINGLE COIN to be a SUPER CHARGED WINNER.

But that Mission has nothing to do with Luck of the Draw…it’s balls out Shamanix.

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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)

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.

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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…

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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:

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Magic:

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And Libations:

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

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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.

SPACE HOODOO COMIX # 1: WAKE UP!

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The first issue of Space Hoodoo Comix is now available. Starring Little Hoodoo & Little Space, Aleister Crowley, H.P. Lovecraft, Spacebuddhaa Jedrik, Kenneth Grant, LAM, a non-descript Jehovah’s Witness and Kyle Fite (whose guts are duly torn out by Crab-Aliens from the Nameless Nebula).

There’s blood, bones and bodily fluids. And Toast. All packed into 24 pages with full color cover and tipped in color plates.

With the first issue, we’ve “set the scene” and are looking forward to how it will all unfold. Similar to David Lynch’s approach to the creation of his masterwork, Inland Empire, I do not have an extensive “script” that’s been mulled over and now requires arduous crafting into a finalized form. The story and its delivery are one thing. The angle taken has me thinking of what William Burroughs wrote about NAKED LUNCH:

Most books are written as if they’ve HAPPENED. This book is HAPPENING.

And it IS.

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I have about as much an idea as to where it’s all going as I do with this “real life.” Sure, I’ve got plans and am on my Path. But the first hour of every day is enough to let us know that the unexpected and unpredictable can and will rear its hydra head without warning. Best to take a stance where we dance with it. Or at least effectively improvise our battle plan.

As an artist, I’ve had the frustrating experience many a time where someone would express repulsion and horror over some “dark image” I had created-and then chuckle at the seeming “whimsy” of another. Yet from my own creative center, the energies may be wholly opposite of what appears at first sight. A gothic image, running with black blood and cryptic sigils, may have been knocked off while I was listening to some upbeat song. On the flip, a cartoony scrawl might connect to levels of hard-earned experience gained with no small amount of suffering and painful rebirth.

I’m contemplating the writing of a commentary to go alongside Space Hoodoo Comix down the line. There is actually a lot of precision behind the seeming nonchalance. For example, the single panel where Rev. Michael Bertiaux gets “a letter from England” is based on a memorable phone call I had made right after Kenneth Grant had died.

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There is an off-handed and even parodic treatment of LAM in this first episode. LAM is an easy “target” for jabs, jibes and jokes. It’s my personal opinion that there may well have been some off-color humor in Crowley’s mind when he drew the image that so impressed young Grant. Despite all of this, I experienced a series of events in conjunction with LAM years back which resulted in extensive meditative work, wearing me down into exhaustion and “Breakthrough Breakdown.” To this day, the “Cult of LAM” remains a bristling source of ever-deepening esoteric exploration transmitting both beauty and Gnosis on the edge of human awareness.

So where we see the pissed-off Guru of All Things Daathian sitting on his little zafu-asteroid, it may seem as if I regard the entire theme as a lark. Nothing could be further from the truth.

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In comics, we can slash right into the subject. A few lines can effectively form the necessary associative link in a viewer’s mind to communicate data. This data is then put into a context where it takes effect. Even if the reader simply “gets the joke” and laughs, the dynamic evoked has proven remarkably effective.

Magic runs along these lines (no pun intended). It’s ALL communication (which is to say CONTACT). Bring two things together and there is the manifestation of a third thing. Yes, it’s sort of Hegelian. But there is always such chaotic potential when Thesis & Antithesis meet. The resulting Synthesis is not restricted to a single mathematical outcome, prepackaged and predictable. It may, however, be guided in its formation.

And THAT is Shamanic Activity.

I wasn’t thinking of any of these things when I was kid and drawing my own comics in gradeschool. But there is one thing I wish to note as I look back on those days. I created my comics at breakneck speed, writing and drawing as quickly as possible. What I was really doing was calling up the experience of READING the comic even as I was MAKING it!

Fast forward and inclinations remain the same. Whether it’s comics or poetry, essays or fiction, I go toward the place where I can enter into the creative space and work my way out from there. I like the story of Jack Kerouac cranking a ROLL of paper into his typewriter so he didn’t have to be interrupted by the chore of adding new sheets when he’d reach the bottom.

You don’t need any dead weight when chasing the muse. And you want to catch her while she’s ovulating. It’s All in the Egg…so Shake a Leg!

Just cuz Will ain’t cryin’ “Because” doesn’t mean it don’t know what it DOES!

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Each issue of Space Hoodoo Comix will end with an “Editorial” with further reflections on these and many other topics.

Issue # 1 (“Wake Up!”) is printed, with all its horror, humiliation and humor, in black and white with hand-signed color cover and two signed tipped in color plates along with Hoodoo Pilot affirmation card. First issue with color prints being offered for $15 + post. Contact us at kylefite@yahoo.com to get your copy.